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March, 1937 • American Cinematographer 85
AMERICAN
CINEMATOGRAPHER
A Technical and Educational publication
of motion picture photography.
Published monthly by the
AMERICAN SOCIETY
OF CINEMATOGRAPHERS, INC.
1782 N. Orange Drive
Hollywood, California
Telephone CRanite 2135
JOHN ARNOLD, President, A.S.C.
FRED JACKMAN, Treasurer. A.S.C.
Vol. 18 March, 1937 No. 3
Whdt to Read
JUST Breaking In
By George Blaisdell 89
THEY MAKE Pictures in India
By Paul Perry, A.S.C 90
RIVER Roll Along
By Fred Felbinger .92
LIGHTING Shirley Temple
By Arthur Miller, A.S.C 94
AGFA'S Fundamentally New Type of
Infra-Red Film
By A. Farciot Edouart, A.S.C 96
A. S. C. Members on Parade 98
"STROGOFF" Triumph in Technique 101
The Staff
EDITOR
George Blaisdell
TECHNICAL EDITOR
Emery Huse, A. S. C.
ADVISORY
EDITORIAL BOARD
Victor Milner, A. S. C.
James Van Trees, A. S. C.
Fred Jackman, A. S. C.
Farciot Edouart, A. S. C.
Fred Gage, A. S. G.
Dr. J. S. Watson, A. S. C.
Dr. L. A. Jones, A. S. C.
Dr. G. E. K. Mees, A. S. C.
Dr. W. B. Rayton, A. S. C.
Dr. Herbert Meyer, A. S. G.
Dr. V. B. Sease, A. S. G.
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8S American Cinematographer • March, 1937
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March, 1937 • American Cinematographer 89
JUST BREAKING IN
By GEORGE BLAISDELL
The Troupe Sends Greetings
A song we'll sing of this Hollywood bond,
Of the less and the great from ev'ry land . . .
The writers of words, the makers of songs,
The makers of joy, the righters of wrongs;
Actor, director and cameraman who
Give all of their best to entertain you . . .
True sometimes we hear this called Heartbreak Town —
Sometimes chill Fate really does get you down.
But 'tend to your knitting, hold high your chin,
Keep pounding and crashing and don't give in . . .
For Hollywood's walls are heavy and thick- — ■
To climb them but few can master the trick.
A war 'tis of wits, of brain and of brawn.
But great is the prize if you last till dawn.
Like the soldiers in Bony's high rolling tides,
A Marshal's baton in eoch knopsack rides.
And here's to our friends the wide world around.
On land or on sea where Screen may be found,
Greetings we send from this Heartbreak Town's crew.
From each one of us to each one of you!
AGE CANNOT WITHER
A DECADE AGO a picture ran its course and was
formally removed from the screen. There was but
one physical reminder of a subject's entrance and
departure, that practically all of its positive prints had
ascended in smoke. The survival, of course, was the nega-
tive. That was written off the books as a rule and shoved
into vaults, with perhaps a record somewhere indicating
its whereabouts. There was possibly a chance in a hundred
later on it might be "revived."
Not so is the situation today. The life of those pictures
which in their earlier runs were rated
in the higher brackets of entertainment
is extended away beyond the dead line
of other days. The discovery by neigh-
borhood exhibitors that a subject that
was good although several years old was
a better box office attraction than an
up-to-date lemon was responsible for
deloying the death of many films.
• For a few days in February one of
the smaller Hollywood boulevard houses
put on dually "Reunion in Vienna," first
shown to the public in May, 1933, and
"Tugboat Annie," released three months
later. This reporter will admit he wit-
tingly picked the program against the
others on the boulevard, feeling assured
he would be better entertained than by
taking a chance on the others.
Then agoin the hunter for entertain-
ment wanted to see in fact as in fiction
the shade of Marie Dressier of blessed
memory. He never did have any sympathy
with the fears of the hysterically timid and overfearful pro-
ducers ond exhibitors who shied from a picture contoining
in the cost a person who no longer lived.
• Who is so bold as to assert that any such feeling will
prevail in the years to come when a goodly percentage of
well-to-do families will treasure films containing the faces
and figures of loved ones long since lost! There hardly will
be denial one of the greatest future sales arguments on
behalf of the amateur motion picture equipment will be
that in the years to come its product will be the family's
greatest heirloom — provided of course ordinarily intelli-
gent use is made of the camera and film.
As an illustration, in "Tugboat Annie" again we see
pulsing with life the inwardly feminine though outwardly
rugged but altogether lovable Marie Dressier. In her pic-
ture there was nothing to indicate she no longer was with
us. Her portrayal now will have historical value, as will
the other subjects in which she appeared — value because
the player was as the legal men phrase it, "unique," and
not to be replaced by others. May her memory never fade.
• In that same program was another characterization
that a hundred years hence undoubtedly will possess lively
interest for the students of drama — and that was the por-
trayal by John Barrymore of the "nut" prince of the house
of Hapsburg. Have it your own way if you will when you
say the chief performer was staging himself.
Seemingly the script writers felt that way about it, too,
for they put into his mouth words that seemed to be re-
vealing Barrymorean as well as Hapsburgian history. But
who cares? It was a corking performance. No other actor
could have done it quite as he did.
• If on the producers' "don't book" in 1933 there were
any rule against drinking scenes similar to that adopted
within a few weeks no attention was paid to it. The en-
forcement of such a ruling would have robbed this particu-
lar subject of much of its flavor, color — yes, and historical
accuracy.
But retracing our steps a bit, the screen in its returning
to the living and the still loving the form
and almost physical presence of those
who have passed on will continue to be-
stow a major blessing on mankind — and
it will continue steadily to enhance the
value in the studio and in the home of
all the man-created devices that make
possible the recording of these images
on film.
JOE FISHER HEARD FROM
• When Paul Perry was preparing for
the trip to the Orient from which he has
recently returned he was asked by this
writer to look up Joe Fisher and to say
"Hallo."
There was a grim smile on the face
of the returned traveler when he sighted
the editor. "I saw your friend Joe
Fisher," he said. "And when I said
'Hallo' for you he just laughed. No, no.
I'm sure he has not forgotten you. He
seemed to remember you plenty well.
Continued on page 123
Speaking Photographically
A LONG TIME AGO — so long
' ' ago a recital of the quip now
may be rated as news — Wu Ting-
Fang, a famous Chinamon and at
the moment diplomatic represent-
ative of his country in the United
States, attended a reception in
Washington.
His eyes rested upon a tall and
angular woman, rarely lean as it
were and exceedingly decollete.
Wu's masculine companion turned
his gaze in the same direction.
The Chinaman leaned closer as
he almost whispered:
"Speaking photographically,
might it not be so'd the lady
would seem to be overexposed
and underdeveloped?"
90 American Cinematographer • March, 1937
Members of the Franklin-Crandville Expeditions Ltd. in Calcutta wi th some ot their sound equipment. The expedition was organized
by Fred LeRoy Crandville, A.S.C. From left to right are Mr. Schul meister, laboratory; Major W. J. Moylan, production manager; Mrs.
Franklin, Captain Norman Franklin and Paul Perry, A.S.C.
They Make
Pictures
In India
by
Paul Perry, A.S.C.
NDIA'S MOTION PICTURE STUDIOS turn out more than
300 feature productions each year. These pictures ore
made by native Indian artists and technicians, about na-
tive subjects, for that vast majority of India's three hun-
dred millions who prefer to be entertained bv their own
people, speaking their own languages. To me, however,
the most remarkable thing about India's film growth is
the fact that her film technicians are largely self-taught,
and in spite of this handicap are producing highly credit-
able pictures.
In this development, India's eyes are turned largely to-
ward Hollywood for information and inspiration. The
Americon Cinematographer is by far the most respected
and influential film publication received in India; its tech-
nical articles by members of the A.S.C. and their fellow-
workers in research, recording and the like are as gospel
pronouncements in the Indian studios.
Most strikingly is this borne out by the fact that several
years ago, in an article in the Cinematographer, L. E,
Clark argued that the men who record motion picture
sound deserved a title more fitting than "sound man or
"recording engineer." The Cameraman, he pointed out,
had advanced his craft to a point where the bare desig-
nation "cameraman" was woefully inadequate, and while
undoubtedly he was a photographic engineer, he also was
uniquely an artist; and fittingly to designate this unique
combination the word "cinematographer" had been coined
and had come into use.
Birth of Vocabulary
The same development, Clark continued, had taken
place in the work and status of the recording experts.
Accordingly, these men deserved an equally fitting desig-
nation. Since "cinematographer" indicates one who
"writes with motion," should not his fellow-artist be termed
one who "writes with sound"? And Clark suggested the
name "audiographer."
Today, if in any of India's many and widely-scattered
studios, you inquire about the "sound man" or "recording
engineer" you are greeted with a blank stare. From one
end of India to the other the dictators of the decibels are
known as "audiographers" and their work as "audi-
ography."
In the matter of technical equipment the Indian film
industry is to a considerable extent Americanized, with
second honors going to Germany. Most of the raw film
used is of either Eastman or Agfa manufacture, though
both DuPont and the British Selo products are represented.
Bell & Howell and Mitchell cameras compete strongly with
the French-made DeBrie "Super-Parvo." The latter have
a considerable advantage in price and, I think, in the com-
missions paid its agents. At any rate, more and more
DeBries are coming into use.
Americans and British Lead Sound
Lighting equipment represents another contest between
American and German products. Hollywood-made Mole-
Richardson lamps are well known and extensively used,
but German lamps, thanks in no small part to the aid af
price and commissions, are also very widely used. Quite
a few of the new M-R "Solarspots" are to be found in the
better-equipped Indian studios. As yet no foreign manu-
facturer has anything that can compare with them. Now
that a British Mole-Richardson plant has been started in
London these lamps should have definite advantages in
India, for the Government gives British-made products a
marked preference in duties.
Sound equipment is largely American and British. RCA,
Western Electric and British Acoustic are the leading sys-
March, 1937 • American Cinematographer 91
terns, though many others, such os Fidelytone, Tobis-
Klongfilm, Baisley & Phillips, and the like, also are heard
from. In my travels through India, I was repeatedly
amazed at the strange places I encountered independent
producers using Artreeves sound systems. I would land
in a place where I was quite sure no one had any idea of
film production — and find an Artreeves outfit working
merrily. There are 43 of these in India.
As regards editing equipment, Moviolas, while there
are a few in India, are practically unknown. Instead,
they use the German "Union" Editing Tables. These ore
really interesting machines. They consist of a large metal
table, with four horizontal stripping-flanges and separate
picture and sound movements. The film travels on its
edge. The picture-image is viewed through an aperture
in the table about the size of the opal inspection-glasses
we see in American cutting-room tables.
Majors and Independents, Too
The films may be run forward or backward, at any speed,
or held still on a given frame, and there is the advantage
of being able to run the sound and picture at different
speeds, to restore synchronization, etc. If it is desired to
check on lip-movements, pressing a lever projects the pic-
ture up to about 3 by 4 foot size on a wall screen.
Most of the larger studios have DeBrie automatic de-
veloping machines for both negative and positive, though
some of the smaller independents still use rack-and-tank.
While I was in Bombay, Imperial Pictures installed a com-
plete Cinecolor laboratory, and is now producing features
in color.
The industry in India is divided into major and inde-
pendent producers, much as it is here in Hollywood. Among
the majors may be mentioned Imperial, Bombay Talkies,
which has one of the most modern studios in India, and
virtually the only one in which the department heads are
Europeans (Germans), and Wadia, all of which are in
Bombay; Prabhat, in Poona; Saraswati Talkies, in Kolha-
pur, and the East India Film Company and New Theatres
in Calcutta.
Over One Hundred Producers
This, of course, is only a partial listing, for India has
six or eight major firms and a total of over a hundred pro-
ducing companies, working in almost fifty studios scat-
tered around the land. Bombay is by far the main pro-
duction center, with Calcutta next, and Poona, Kolhapur,
Madras and Lahore also active. As may be imagined,
there are a number of service studios, the largest of which
is Film City, in Bombay. This plant compares very favor-
ably with Hollywood's smaller studios, and was built by
the late A. Fazaibhoy of the Bombay Radio Company, the
enterprising distributor for Bell & Howell, Mitchell and
DeBrie cameras, Mole-Richardson lamps, British Acous-
tic and RCA sound, Moviolas, and a variety of other
products.
The Indian technicians are almost without exception
self-taught, and a very earnest, studious group of men.
They have reached a stage in their collective evolution
comparable to that which we in Hollywood had attained
at the time when the American Society of Cinematographers
was organized. Many of our old-timers can recall how in
the early days there was very little intercourse between
workers in the different studios; how ideas developed on
one lot were jealously guarded lest some unmitigated
scoundrel from another studio might appropriate them.
As everybody knows, since the A.S.C. brought the mem-
bers of the cinematographic profession into close, open-
minded contact, progress, individual and collective, has
been amazingly rapid. India is at that same stage. Only
within the last few years have there been organizations
to bring together the men from the different studios.
These are the Motion Picture Society of India and the
Film Technicians of India, organizations which are doing
a great work for Indian pictures.
A Keen Audience
During my stay in India it was my privilege to be in-
vited to address the former group, and to be made
one of its honorary members. I am sure no speaker ever
had a more interested audience than I did that night, nor
one whose questioning so clearly showed how studiously
his auditors follow their subjects. I was greatly relieved
to find that although these men are making pictures in
such native tongues as Hindi, Urdu, Tamil, Bengali and
even Persian, most of them speak and understand Eng-
lish surprisingly well.
One unfortunate misunderstanding did occur, however.
That was when I was asked about the relationship between
Cinecolor, Multicolor, Magnacolor, Vericolor, and the other
bipack color processes. My natural reply was they were all
alike in the photographing, but differed in their printing
technique. That was misinterpreted into the statement
there was no difference at all between them.
India has some surprisingly fine cinematographic and
audiographic artists. Unfortunately, when I left India,
I planned to return immediately, rather than to swing
around via Hollywood. Accordingly, I left without making
proper notes of the names of these gentlemen and they
are names not easily remembered by an Occidental, so I
cannot credit them as I would like. For this I apologize.
India's prime technical weakness is in accessory equip-
ment and in laboratory and cutting technique. There is
much that is commonplace here in Hollywood which is un-
known there, probably for the reason that they have had
no opportunity to see the equipment itself in actual use,
and naturally dislike to gamble where relatively large sums,
high import duties, and 6,000 miles of distance are in-
volved.
The laboratories in the major studios are excellently
equipped and capably operated. They have a tremendous
problem to contend with in the climate, however. Amer-
ican and European makers of developing machines have
not fully taken this into consideration; for example, due
to the high humidity, much additional dry-box space is
necessary, and, due to the heat, drying should be by air-
conditioning rather than mere heating.
Continued on page 102
Not Tennis Champion Fred
but Paul Perry, A.S.C., dis-
regarding good-natured jibes
of tennis addicts but taking
up game in self defense.
Hindu bearer or servant at
left.
92 American Cinematographer • March, 1937
RIVER -roll along
by
Fred C^Red^O Felbinger
M r. DEVEREAUX checked the river gauge, and only
after Mr. Devereaux, Cincinnati's official predictor,
checked the river gauge did he dare predict an all-
time flood stage of 15 feet for Cincinnati.
However, long before Mr. Devereaux predicted a 75-
foot flood stage for Cincinnati, newsreel editors hod moved
o battalion of lens snipers into Cincinnati. You see, 75-
foot flood stage would pass the all time record for Cin-
cinnati, set in 1913 by the Ohio River.
Long before the gauge hit the 75 mark this flood was
already news . . . National news! So the ace newsreelers.
from New York and Chicago, had already had a flood
story, built around Cincinnati, in the can.
This was a flood, a real flood, and when she hit the 75-
foot mark she shot the works. She proved Mr. Devereaux,
the official predictor for Cincinnati, an expert. She broke
the '13 record and she proved that the New York news-
reel editors could smell a real story miles away.
If you had your doubts about the New York newsreel
editors, all you had to do was check the personnel they
had stationed at Cincinnati when she blew. The newsreel
cameramen covering Cincinnati were doing a conscientious
job so far.
Here Was Big News
Then the gas tanks up Millcreek Valley let go, fire burst
out, and for hours it seemed another catastrophe, like the
'Frisco disaster, or perhaps the great Chicago Fire, would
scribble the name Cincinnati into the pages of history.
The great Cincinnati fire of '37!
That's why the newreel leasers stood there in pouring
rain, facing fire and flood waters, recording on film for an
unseen audience and posterity the great Cincinnati catas-
trophe of '37. News was not any longer in the making.
News was here and big in Cincinnati. The fire was cov-
ered and the flood was covered.
Then a mod scramble to ship the precious negative to
New York. Trains were no longer running into Cincinnati.
The railroads had called an embargo on all shipments ana
the airport was under water. The newsreelers had cov-
ered the Cincinnati flood and the great Millcreek Fire,
but covering such an event was not sufficient.
What the hell good did it do a newsreeler to cover such
a news story if you couldn't ship the stuff? So a feverish
dash by boat and car for Columbus, the closest point to
ship — and finally the editors received the stuff at New
York, and an outside world had its first inkling of a great
catastrophe.
Meanwhile, Mr. Devereaux had measured up to his repu-
tation as a predictor. The river reached the 75-foot stage,
an all time record for Cincinnati.
The waters lapped at the foundations of the water
works plant! It went out!
The river lopped at the foundations of the electric plant.
It went out!
And Cincinnati, a metropolis in the Middle West, was
paralyzed and isolated.
Newsreelers had covered up to this point and had a great
catastrophe in the can! . . . But the real stary was still
to come!
The river went over the 75-foot stage! It rose higher
and higher! And then the Ohio River mastered its smallest
and most picayune enemy . . . Man!
Cincinnati . . . Lawrenceville . . . Louisville . . . Evans-
ville . . . Paducah . . . Cairo.
Ole' Man River ... he just roiled on . . . sweeping q'I
in his way . . . and the newsreelers were there . . . record-
ing the greatest catastrophe story of all time!
Tight Spot for Six
At Cincinnati three newsreelers set out in a Coast Guard
boat. The current was running fast . . . one newsreeler
in his excitement to get a good skyline shot went over-
board . . . his Akeley camera caught his foot . . . two
other newsreelers bore down on the camera ta hald hini
to the cutter.
If he went into the river he was doomed. His leg
caught in a painful angle under the collapsed camera.
The newsreeler screamed with pain: "My leg! my leg!" . . .
a Coast Guarder yelled: "The hell with your leg . . . it's
you we're trying to get back into the boat!"
And the cutter all the while was slipping toward a group
of submerged buildings and certain capsizing of the cut-
ter and drowning of its six occupants.
Then safely getting the newsreeler back into the boot
and making the treacherous stream back to safety with
the skipper yelling: "And the first one of you camera
lugs that starts shootin' . . . why . . . I'll just mow you
down with this spare oar I have here!"
Oh, for a Bath!
Then back to the hotel . . . No water for a bath . . .
just a jug of well water for drinking purposes . . . and the
typhoid shots in the arm . . . God! . . . how they sickened
you . . . Your arm felt like someone hit you with a base-
ball bat . . . and two more shots to go ... in the next
two weeks . . . oh, to get out of Cincinnati, but that was
impossible.
After all, the boss was depending on you coming through
... no electric light . . . never knew the value of light
and water before . . . oh, to be home and run the water
faucet . . . clean hot water . . . for a bath . . . jeez! even
to drink.
The river was still rising . . . would it never end? . . .
the refugees, who had lost all. Their forlorn looks! Why,
it even made a guy cry to hear their stories . . . and see
their plight . . . and these hard-boiled cameramen.
This was the big flood of '37. Mr. Devereaux was right,
but one didn't mention Mr. Devereaux any more. The
river was up to 80 feet now, and still rising. Then the
lull. She was now standing still. Houses were floating
down the river, one after another . . . pictures . . . pictures
wherever one aimed his camera . . . but for some reason
you didn't thrill to covering it.
Here was a saga . . . the saga of the Ohio on a ram-
page . . . the ole river just rolled on and on, and with
March, 1937 • American Cinematographer 93
it the heartaches of thousands . . . yeah! here were pic-
tures, no matter which way you pointed your lens . . .
but it kinder gripped at your heartstrings to be a witness
to the havoc of Ole' Mon River on o rampage.
Gagging Ncwsreelers
You no longer worried about no electric light ... no
both ... no drinking water ... or the jumping pains in
your arms from the typhoid shots. This was the big flood
of '37.
Bock at your hotel you figured how in hell you wers
going to get the new stuff into New York . . . for the dead-
line . . . but somehow you got through with it . . . and
then you called your buddies at Louisville.
Louisville! Down in the Blue Gross country, where they
run the Kentucky Derby! . . . Louisville! Now the big
victim of the flood .... the flood of '37! Louisville,
which would replace Dayton in flood history, the Dayton
of 1913.
Louisville, another metropolitan city, entirely submerged
by flood waters! After much coercion and finnigling, you
finally got your call through to your buddy . . . another
newsreeler covering Louisville . . . and you heard his pitiful
tale . . . Mass burials! National Guardsmen pointing rifles
at you for trying to cover and make shots of burying the
dead! Why this gagging newsreelers? Nobody knew!
But it was happening!
Same living conditions at Louisville if not worse than at
Cincinnati. No drinking or bathing water, but a guy at
least wanted to shave. This was accomplished by heating
White Rock water in a 200 foot film can using three
candles to heat the can.
Here is Fred (“Red”) Felbinger, one of Paramount’s newshounds
out ot the Chicago office, standing at the edge of a receding
stream which shortly before had submerged the Coco Cola sign
across this Cincinnati street. No longer are the waters tumbling
and tilled with all the tragic and incongruous accompaniments
that swirled south when the flood was at the peak. The camera-
man has had a chance to get “cleaned up a bit,” as he ex-
plained in a note. Also he was enjoying an opportunity to plant
his tripod on the ground where tor days his only platform had
been a boat. The writer ot this graphic story ot hazard and per-
sonal discomfort has been doing this sort ot thing tor many years
and looks upon it as all in a day’s work. The still was photographed
tor the subject by an unidentified member ot the Wide World
staff. The newsreeler who was in such deadly peril when he went
over the side ot the Coast Guard boat was Emille Montemurro,
staff cameraman tor Fox-Movietone News, Chicago.
Newsreelers Fighting Odds
Hot water at any price! Then the cameraman's diet.
A kerosene heater, in the hotel coffee shop, warmed the
daily, frugal fare for the grinders; an eternal diet of just
two choices on the menu, either scrambled eggs or beef
stew, with a generous sprinkling of the kerosene fumes in
all dishes served!
Then too, the perpetual danger of disease, from the con-
tact with contaminated waters. This was Louisville, Blue
Grass capital . . . home of the Kentucky Derby! Now
merely one of the key points of the ravages of Ole' Man
River !
And further on down the river . . . Paducah . . . Evans-
ville . . . now completely submerged . . . and fellow news-
reelers grinding away. Then Cairo ... at the meeting
Continued on page 128
94 American Cinematographer • March, 1937
The Child and the Artist
LIGHTING
SHIRLEY
TEMPLE
by
Arthur Miller, A.S.C.
P hotographically as well as personally, photo-
graphing Shirley Temple is one of the most interesting
assignments of my experience. Perhaps I ought to say
"four of the most interesting assignments," since the cur-
rent production, "Wee Willie Winkie," is my fourth with
Shirley.
In a career that goes back longer than I like to think
I have photographed many children who were stars and
neor-stars. But I never knew anyone like Shirley Temple.
It is almost unbelieveable that any seven-year-old could
be the focus of such universal acclaim as goes with the
fact of being the world's No. 1 box-office personality and
still remain unspoiled.
But Shirley does it. And this acclaim pursues her into
the studio. I have seen distinguished visitors and hard-
boiled newspapermen, accustomed to meeting fame on
even terms, gawk like yokels when Shirley was working.
I can't say I blame them, for Shirley is on unusual little
trouper. Her ability for lines and business amazes each new
director. Invariably she is letter-perfect in her lines. Often
we will shoot three or four pages of dialog in a single
scene — and even the most experienced actors might be ex-
cused for "blowing" some of Shirley's lines. But not
Shirley! I have never known her to miss a line. If we
could shoot only for her, we could wrap up every scene
in one take.
Just for good measure, she is equally familiar with every
other player's lines. Not only cues, if you please, but
complete speeches. Often I've seen an experienced actor
in a scene with Shirley blow up, perhaps in the middle of
a long speech. Shirley will look at him, bursting to say
"You should say this — " — but she restrains herself, like
the little lady she is.
On the last picture, "Stowaway," though, she said it.
Robert Young has a fine sense of humor, and she knew
she could kid him. He took it like a sport — and vowed
to return the compliment at the first opportunity. But
that opportunity never came!
In spite of this, Shirley will never let down o scene. The
other players may blow and falter, but she is always ready
to pick up the scene and carry it along.
I've noticed this in relation to lighting, too. Sometimes
an unexpected change in action will make it necessary
for Shirley to look toward an unusually strong light. Like
any child, she doesn't like looking into high-powered lamps.
But, unlike most children, she never shows it. She'll ful-
fill the requirements, take as brief as possible a glance
toward the offending lamp, and then "cheat" a trifle one
Continued on page 100
Cameramen on location
in the desert near Yuma,
Arizona, are working
under difficulties in
shooting this scene from
the Technicolor produc-
tion, ''The Garden of
Allah.'’ Marlene
Dietrich and Charles Boyer co-star in
this David 0. Selznick production,
under the direction of Richard Boles-
lawski. Howard Greene, Photographer;
Hal Rosson, Photographic adviser; W.
A. Oettel, Studio Chief Electrician,
Exceptional penetration and carrying power are required of a
light source to pierce the obscuring clouds of a sand storm
on the desert, but the carbon arc proved equal to the task.
CARBON ARC LIGHTING MEETS EVERY DEMAND OF TIE CAMERA
DSE
r
It is silent, cool and remarkably fast.
It has the photographic qualities of daylight.
It has proved a necessity for color productions.
It Improves black and white photography.
1
NATIONAL
L
HIGH INTENSITY CARBONS
MOTION PICTHRE STODIO CARBONS
NATIONAL CARBON COMPANY, INC.
Unit of Union Carbide om and Carbon Corporation
CARBON SALES DIVISION, CLEVELAND, OHIO
GENERAL OFFICES: 30 EAST 42ND STREET, NEW YORK, N. Y.
BRANCH SALES OFFICES: NEW YORK - PlTTSBUReH - CHICAGO - SAN FRANCISCQ
96 American Cinematographer • March, 1937
T he recent introduction of a fundamentally
new type of infra-red sensitive film, specifically de-
vised for production use, has at a single stride ad-
vanced cinematography much closer to the long-sought
goal of filming nearly all exterior night-effect scenes by
daylight. The new film is a product of the Agfa-Ansco
laboratories, and is the direct result of close cooperation
between the film-making engineers and film-using Cine-
matographers.
It is not merely a modification of the firm's previous
type of infra-red sensitized film, which is definitely a special
purpose emulsion, but an entirely new type of film for the
making of production night-effects. At a conservative
estimate, from 50 per cent to 70 per cent of the night
scenes now made at night, by artificial light, can now be
made better and more efficiently by day with the new film.
Until quite recently, the making of daylight night-ef-
fects has been based on the use of extremely heavy filters
which overcorrect the sky to night-time darkness, combined
with definite underexposure to obscure the remainder of
the scene. Even with the earlier infra-red sensitized emul-
sions, this general technique remained necessary, for while
the sensitivity was extended into the infra-red region there
nevertheless remained a considerable yellow-green sensi-
tivity which necessitated the use of extremely heavy filters
capable of completely absorbing these colors.
Agfa's previous infra-red film, introduced over a year
ago, was probably the first commercially available cine
film of this tyoe with sufficient exposure speed in which
this undesirable characteristic was eliminated. According-
ly, it permitted the use of far lighter filters, such as the
Wratten 29-F. This emulsion, however, still retained a
relatively high degree of controst, and a sensitivity balance
which made its use impractical for the more intimate
scenes in which the flesh values of players was a most im-
portant consideration.
Full Exposure
The new emulsion is intended definitely for production
use. The contrast characteristic has been reduced to o
point comparable to that of normal super-panchromatic
emulsion. The color-sensitivity has been adjusted to a
point where convincing night-effects are possible without
sacrifice of flesh-tone rendition in even the most intimate
shots. There is no yellow-green sensitivity; the maximum
correction is had with the Wratten 29-F filter. The averall
speed of the film shows a marked increase; the shadow-
speed of the new film, especially, is definitely higher than
that of ony previous film of its type.
In this connection, it should be understood that night-
effect negatives made with this new film are fully exposed;
the effect is the result of filtering and sensitivity rather
Production
Night-Effects
With Agfa s
by A. Farciot
than of underexposure. While it has generally been the
case that filtered night-effects have had to be "printed
for night" — usually at a printer light-setting definitely
below normal — comparable effects photographed with the
new film print normally, usually printing around light 15.
They give convincing night-effects without loss of shadow-
detail, and without exaggerated contrast.
The keeping qualities of the new film are understood
to be excellent; the Agfa experts state that it will keep
quite as long as normal superpan film, and without special
handling.
Photographing night-effect scenes with this new film
need not differ materially from the technique of making
normal day-effects on conventional types of super-pan-
chromatic. The Wratten 29-F filter has as yet been most
generally used, and exposures have ranged from f:3.5 or
less to f:2.3, according to light conditions. Any type of
lighting may be employed. It has been found wise, how-
ever, to avoid a direct back-light, since atmospheric dis-
persion at this angle is generally so great as to whiten the
sky beyond possibility of satisfactory correction. Outlining
rim-lightings on people, produced by booster ' lights or
reflectors, are very effective.
May Put Actors in Shade
In general, the most pleasing effects have been obtained
with a cross-light, or with a diffused front (or semi-front)
lighting modeled in the usual manner with reflectors or
"booster" lights. It is by no means necessary to play the
people in direct sunlight; excellent results have been had
with the players in the shade, with reflectors or artificial
front- lighting as would be used in making a normal scene
under such conditions.
^Vindows may be illuminated in the normal manner bv
artificial light. The flames of torches and flares pick up
very effectively. At present experiments with chemically-
treated flares are beina conducted as the reflected light
from more stronglv red-orange flames should also affect
this film, ond would naturally simplify the problems of
simulatina the illumination cast by such torches.
Due to the fact that the night effect is produced by
overall correction and not alone by overcorrecting the sky
and underexposing elsewhere it is possible to achieve con-
vincing niaht-effects with this film even in scenes where
the sky does not figure.
No change in make-up is necessary other than the
Figure 1. Photographed on the new Agfa infra-red film by
Victor Milner, A.S.C., and Dewey Wrigley, A.S.C. Three-inch lens
at f:3.5 with Wratten 29-F filter; 2:30 P.M.; sun scrimmed on
character, and M.P.A. light diffusion disc used. Photo courtesy
Paramount Productions.
March, 1937 • American Cinematographer 97
Funddmentdlly
New Type of
Infrd-Red Film
Edouart, A.S.C.
substitution of the lip make-up closely comparable to that
used for the old "blue transparency" process. To the eye
and to conventional emulsions this lip rouge is virtually
identical with the normal type; but where the new film
lightens the conventional lip make-up it does not change
the rendition of the other type, which while visually red-
dish has yet enough blue in its composition to be comple-
mentarily affected by the filtering used with the new film.
Convincing Effects
Tests made on this new film by various outstanding
Paramount Cinematographers definitely indicate that it
permits in many instances much more convincing night
effects than either filming at night under artificial light,
or by the previous methods of making filtered night-effects
by day.
Tests made with it by Victor Milner, A.S.C., in prepara-
tion for his present production, for instance, have indicated
its superiority to either previous method in scenes in which
any considerable area is included. Hitherto, regardless of
the method used, there was generally an increase in contrast,
and little detail could be preserved except in the immediate
foreground and in highlights.
In closer shots often all that would be visible would be
the actors' faces and shadowy figures moving against a
black background. Using the new film, the scene appears
much more nearly as it would normally appear on a moon-
lit night, with a natural amount of detail visible in the
shadows, and a considerably broader scale of gradation.
Prominent distant objects, such as mountains, etc., re-
main evident in the background of longshots and close
angles alike, quite as they would naturally. "Practical"
street lamps, torches, flares and the like give very natural
effects, though it may be mentioned other tests indicate
some experimentation is necessary before automobile head-
lights will photograph wholly naturally.
May Get New Dusk Range
With only a reasonable amount of care in using reflect-
ors or "booster" lights their beams can be made to appear
less obvious than is often the case in nprmal day scenes.
Night scenes in which the sky does not figure are very
convincing, especially when highlighted by artificial light
from within house windows, doors, etc., or with a little
highlighting on walls from "boosters."
Leo Tover, A.S.C., made some interesting tests of the
Figure 2. No loss of flesh values in this night-effect made .on
the new infra-red film by Victor Milner, A.S.C., and Dewey Wrig-
ley, A.S.C. Photographed at 2:50 P.M. with a three-inch lens at
f:2.7, Wratten 29-F filter, M.P.A. light diffusion disc; sun on
actor scrimmed. Photo courtesy Paramount Productions.
film in snowy mountain country, preparatory to using it on
"I Met Him in Paris." Here, working with a subject and
light conditions of extreme contrasts, the broader grada-
tional scale of the new emulsion proved its value. From
some of these tests, it would seem probable that a new
range of twilight, dusk and even day effects may be ob-
tainable with the new film and lighter filters. Parallel
scenes, made in the conventional way with super-pan-
chromatic film and a 72 filter, for night effect, appeared
decidedly less convincing than those made on the new film
with the Wratten "F."
Henry Sharp, A.S.C., was probably the first Cinematog-
rapher to use the film on actual production. Completing
an exterior sequence of "Murder Goes to College" in the
afternoon, with two night scenes to be made on the same
set, he was able to film these shots at once, with the new
film, rather than having to return at night.
Paramount Pioneering Film
And so in line with such a definite advance in night-
effect photography, Ray Wilkinson, head of Paramount's
camera department, became immediately active in the evo-
lution and proving of the new film, taking advantage not
only of its photographic superiority but also of the as-
tonishing economic opportunities which can in all prob-
ability save the industry enormous sums.
"In one coming picture," he points out, "there are some
tremendous night sequences, which we plan to film in two
days using the new infra-red film. Otherwise, working
by night, we could hardly expect to complete these scenes
in less than three or four nights, at far greater expense —
to say nothing of lessened personal and collective effi-
ciency, which is always a factor in night work.
"The saving to any average production in transporta-
tion, electricity, equipment, labor and time — not to men-
tion the inevitable unforeseen delays — should be as impor-
tant a factor as the more convincing quality on the screen."
No All-Embracing Panacea
It should not be assumed that this new film is on all-
embracing panacea for all types of night-effects. Definitely
it is not. Some scenes will for some time to come be better
filmed by conventional means. The use of the new film
also calls for more careful coordination with the photo-
graphic staff, especially in the cases of the director and
art director.
Such night scenes should naturally be scheduled for
hours of favorable light-conditions. Costuming, set-paint-
ing, and the like, should take the film into especial con-
sideration. For example:
Continued on page 103
98 American Cinematographer • March, 1937
A.S.C MEMBERS
ON PARADE
• James Van Trees, A.S.C., was one member of o quartet
of cinematographers on UniversoTs ^^Stones Cry Out who
attracted attention on the lot for his success in
whipping the flu jinx that attacked the camera staff on
the subject Harold Young aimed to finish in the course
of time if the list of available photographers held out.
Gilbert Warrenton, A.S.C., opened the ball with a great
start, but Ole Man Flu got him down after a struggle.
Then entered J. V. T. with an abundance of pep leavened
with a full measure of sympathy for those who were un-
able successfully to combat the flu specter. But O. M. F.
even then had his number.
Richard Fryer, A.S.C. , was the recipient of an emergency
call to take charge of the photography on "Stones Cry
Out," a title the sinister applicability of which seemed
more and more negatively to appeal to those who wer.e
trying to work on it. Then Ben Reynolds, A.S.C., got the
hurry-up call, and none too enthusiastically responded as
his immediate predecessor also took to his bed.
But Van having almost started the picture had an un-
bending ambition to finish it. When the fourth man on
the list was found to be packing a temperature a retracing
of those who had retired more or less indifferently revealed
the second victim was ready to go again. And so he did
And "Stones Cry Out" slid silently into the old can to the
intense relief of the U's camera department.
• Henry Sharp, A.S.C., for the past month has been re-
ceiving congratulations on his marriage January 30 to
Jeon A. Thayer. The American Cinematographer for the
intervening weeks has been impatiently awaiting the op-
portunity officially to add its good wishes to those of
Henry's host of friends, wishes for a maximum of good
health and of the blessings that go with life in harness,
material and domestic.
• Rudolph Mote, A.S.C., has gone to Big Pines on vaca-
tion. With him went his skiis, the inactivity of which,
if the truth be told, really was responsible for the trip.
Singular indeed is it how a faithful follower of a craft the
members of which aim at all times to keep their feet on
the ground suddenly should be seized with an unquench-
able urge to see how far he may lift his feet off the
ground without resultant damage to the aforesaid eartii
or to his own anatomy.
• Charles G. Clarke, A.S.C., is the latest of the cinema-
tographers to step from the camera to the directing post.
He has been assigned to direct the making of M.G.M.'s
"Pigskin Packers," which will bring to the screen a show-
ing of the famous professional football team from Green
Bay, Wis.
• John W. Boyle, A.S.C., writes from Marseilles, France,
he is on his way to Cairo. The Cairo you may be thinking
about is not the one he is talking about. The message
mentions a word or so about weather, something better than
he recently has been experiencing seeming to be his urgent
desire. So he was on his way to Egypt and not to Illinois.
He announced his address as Mena House, Giza Pyramids,
Cairo, Egypt.
• John L. Herrmann, A.S.C., sends word from Miami —
which is in Florida, that state where the cold is not, ac-
cording to some — denying he had anything ta do with
the big floods around the Ohio and the Mississippi. With-
out even a remote tinge of noticeable regret at missing
a part in the recording of that catastrophe, he explains
his seeming indifference by intimating his cup on floods
was filled to the brim last year in Johnstawn, Pitts-
burgh and Wheeling. John at the time of writing was
awaiting the coming of the big league ball players, the
training af which he will cover. He wants to be remem-
bered to all the bunch.
• Hal Mohr, A.S.C., twenty-three years ago as an ex-
ceedingly young man was cinematographer on "Money."
The leading character actor of the production, which was
made in Fairfax, Cal., was Jerry Ash. Hal now has finished
directing "When Love Is Young," Universal's comedy of
romance. Jerry Ash also was around about the picture,
too, only it was Jerry Ash, A.S.C. You get one guess as to
just what his duties were.
• Hal Rosson, A.S.C., has been assigned by Metro and
now is shooting "They Gave Him a Gun." W. S. Van Dyke
is directing.
• Gregg Tolond, A.S.C., has entered into a five-year
agreement with Samuel Goldwyn under which he will direct
as well as phatograph pictures. The cinematographer al-
ready has a record of thirteen years in the camera depart-
ment of the Goldwyn company, which is something of a
record of itself.
• Clyde De Vinno, A.S.C., has been assigned to shoot
M.G.M.'s adaptation of Don Marquis' "Old Soak. There
was reported to have been some lively competition among
the boys to land in the spot, some even exploiting their as-
serted qualifications adequately to fill the bill. The de-
partment, however, insisted it was seeking its man on the
drys' side of the fence. But the roar of the cinematogra-
phers was as nothing to that coming from the character ac-
tors. Some of the troupers insisted they could fill the title
role like nobody's business if the prop department would
just do its full duty.
• Fred W. Jackman, A.S.C., had a plenty of good long
looks at the old Father of Waters on damage bent. Pre-
ceded by his son Fred W. Jackman, Jr., A.S.C., he flew from
Hollywood to St. Louis with Amelia Earhart on the plane
in which she plans a world flight. Arriving in St. Louis the
two A.S.C. members chartered a plane and photographed
the flooded area, proceeding as far south as Memphis. In
Paducah, Ky., they entered the lobby of the Irving Cobb
Hotel in a motorboat. In another town also in a motor-
boat they entered a hatel via a second story window and
departed in the same navel fashion. Father and son
returned to Hollywood by a TWA plane after having been
away a week.
• Joseph Walker, A.S.C., among his associates in the Ca-
lumbia studies for several weeks had built up quite a mys-
tery around his goings and comings in the then near future.
He was going east on most important business. He re-
Continued on page 104
March, 1937 o American Cinematographer 99
CHAMPION
EASTMAN Super X was used in the great
majority of all 1936 feature productions
...ill three out of every four ^^box-office
ml
champions”. . . in nine of the ^^best ten”
pictures chosen hv the country’s critics.
It coiitiimes as the uiiehalleiiged cliain-
]>ioii among motion [lieture negative films.
Eastman Kodak (Company, Rochester, N.Y.
(J. E. Brulatour, Iiic., Distributors, Fort
Lee, New York, Chicago, Hollywood.)
EASTMAIV SUPER X
PANCHKO>IATir AE<iATIVE
100 American Cinematographer • March, 1937
Lighting Shirley Temple
Continued from page 94
way or the other, covering it up with
some bit of impromptu business.
Naturally, we try to ovoid such things
os much os possible. In the first place,
we're fond of Shirley. In the second
place, no child con be wholly noturul
under blinding lights.
So we've evolved o scheme of light-
ing that really gives an indication cf
what modern lamps and modern fast
emulsions permit us to do in cutting
down illuminotion without sacrificing
quality. I've always considered myself
a reasonably low-level lighter. But it
took this experience to show me how far
all of us are from taking full advantage
of the opportunities offered by today's
improved equipment and materials.
Here's the problem. I've got to light
Shirley with the minimum possible in-
tensity. At the same time, my scene
must retain a definite effect of bril-
liance. The overall effect may be high-
key or low-key; but there must always
be something of the sparkle one asso-
ciates with Shirley Temple.
Baby Spots for Shirley
Therefore the foundation of my light-
ing scheme is a pair of baby spotlights
with which I light Shirley. Yes, I mean
those insignificant 500-watt "bon-
bons." One of them, placed quite high
and at the side most of Shirley's action
is played ta, is my key-light. Normal-
ly, it shines down upon her face, from
the front.
The second baby spot fills in from the
side. It is usually lower than the key-
light, and flooded more. The remaining
side is filled in with a "broad," strongly
diffused and placed well back. The top
and back lighting, since Shirley doesn't
have to face it, can if necessary be much
stronger. Often in closer shots, how-
ever, I use a baby spot even for this.
Now all I've got to do is keep my
general illumination at a sufficiently low
level so that these "babies" penetrate
the overall lighting.
For this I've found one of the most
valuable toals is the "Junior Solarspot
Mole-Richardson brought out lost year.
In a case like this, you've got to light
precisely. Each lamp must da its full
duty — and no more. You can't trust
to diffusing heavily, for if you do your
light grows hard to control. You can't
work precisely with the old mirror-type
lamps because of the obvious "hot rings"
and "dark centers" you get os soon as
you flood their beams.
Here is where the "Morinc-lens" con-
struction of those Solarspots proves its
worth. I haven't yet been able to fine
any shadows or hot-spots in their beams.
And once you've focused a Junior you
know its beam is all going where you
want it. There's no "spilled light."
Larger Lamps for Adults
What's more to the point, I don't have
to use two or three overdiffused lamps
to do the work of one normally efficient
ane. On several of the sets for "Stow-
away" and most of them for the new
picture I've had the set rigged exclu-
sively with Solarspots.
In those parts of the scene toward
which Shirley doesn't have ta look I car
often use larger lamps for lighting the
adult players. The "Juniors" are very
useful for this, particularly since their
light can be so precisely controlled.
We've worked out a little gadget which
is very helpful in this phase of light-
ing. We call it a "barndoar." It fits
on to the lamp just like a diffuser. On
the normal square metal base is a tube
the same diameter as the Solarspot's
lens, and about three inches long. At
the end of this are two hinged flops
about twelve or fourteen inches long.
The whole assembly revolves, so that
the flaps will close at any angle — verti-
cally, horizontally, or anything between.
The flaps of the barndoor act like
goboes, but they can be handled much
easier. Suppose Shirley is working in
a scene with an older player who needs
(and can stand) stronger lighting.
Shirley may have to look in the direc-
tion of one of these larger lamps. Well,
that lamp is simply a Junior with a
barndoor.
The flaps of the barndoor are revolved
until they work vertically. Then the
lower flao is tilted up until it cuts the
beam off Shirley. Thus protected, she
can look directly at the lamp and not
Our Regrets to Mr. Simon
In a conversation with the editor of
this magazine S. Sylvan Simon, Universal
executive, called attention to statements
credited to him in a January story which
he says were not in conformity with
his beliefs or his experience. Mr. Simon,
whose books on theatrical matters are
accepted in the profession as authori-
tative, says the article in question was
written by a free lance writer following
a brief and casual chat on a stage.
While some of the statements, Mr. Simon
suggests, were recognized by his inti-
mates in the industry as authentic, oth-
ers were to the contrary. The American
Cinematographer begs to assure Mr.
Simon it regrets the occasion for com-
plaint.
be bothered. Moreover, it cannot inter-
fere with the less intense lighting used
on Shirley.
It con easily be imagined, too, how
much these handy accessories simplify
the matter of goboeing light from any
part of the set.
Same Problem Outdoors
When we go outdoors on location the
same general problem enters. I always
scrim the direct sunlight from Shirley.
And as even experienced odults dislike
facing reflectors I do all my modeling
with artificial light. Usually I employ
Solarspots and baby spots.
On this picture, we have one location
representing a cantonment in India.
Here we've had the problem of suggest-
ing heat without building up unduly
"hot" light levels. One sequence, for
instance, takes place on the veronda of
an officer's bungalow. I needed plenty
of light in that porch to balance the
strong sunlight outside. Ordinary
inkies weren't adequate, and the sound
men wouldn't let us use a generator big
enough to power arcs. So I used one of
the big Senior Solarspots — and the trick
was done.
In one sequence of the lost picture,
"Stowaway," I also made good use of
these larger units. The set represented
the deck of a steamship, and I needed
a strong, uniform key- light to represent
sunlight. The answer was three Seniors
lined up outside, overlapping at the
stanchions supporting the upper deck.
The effect could not have been more
convincing hod I used arcs — and it was
obtained easily and economically.
But somehow the technicalities of
lighting don't seem so important when
I'm shooting a scene like one in "Stow-
away" which ran for over three pages
of dialog. It's quite something to see
any seven-year-old do such a long scene
without missing a line — but when fully
half of her dialog is in Chinese (and
still never a blow-up!) — well, even a
cinematographer has a right to applaud!
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CAMERAS
March, 1937 • American Cinematographer 101
//
Michael Strogoff Registers
Genuine Triumph in Technique
V ERNON L. WALKER, A.S.C., head
of the special camera effects de-
partment at RKO studios, replied tc
the compliments of the editor on the
work of his department and the whole
camera crew on the making of "Michael
Strogoff" by declaring with enthusiasm
that Joseph August, A.S.C., the director
of photography on the picture, had
"done a beautiful job, that he had
matched right on the button the foreign
land shots with the home close-ups; that
not only was there craftsmanship but
artistry in abundance."
One of the outstanding incidents in
connection with the making of "Mi-
chael Strogoff" is that, where ordinarily
the producer for some inconceivable
reason attempts to hide the fact a pic-
ture was photographed abroad, in the
present instance there is open-hanaea
acknowledgement by an RKO execurive
whose business it is to speak for the
company that RKO purchased a French
version of a German picture that hud
been photographed in Bulgaria.
Furthermore, explaining the convic-
tion of "authority" conveyed to the per-
son out front as he looks on these wide
vistas of open country, it is declared that
of the original nine reels brought to
this country 2800 feet were cut into
the picture as it is now being shown.
That explains why the layman is under
the illusion he is looking on Russian
backgrounds.
Photographic Technique
Let us examine the map and see how
this illusion thing was established.
Southern Russia is bounded on the west
by the Black Sea. As this witness con-
strued the locale from the picture this
was the spot. Bulgaria, where it was
photographed, is bounded on the east
by the same bady of water. The lotrei
country's latitude — and latitude is a
most important factor in matching
backgrounds — is around 42 north. Sac-
ramento River, where some of the
matching shots were taken, is 39. Here
in Triunfo, an hour's easy ride from
Los Angeles, where some of the most
effective matching was dane, the lati-
tude was around 33. It is probable the
disparity in latitude was campensated
for by the elevation of the Triunio lo-
cation.
What cannot be ignored wherever
motion picture men and women fore-
gather is that one of the major factors
contributing to the triumph of o pro-
duction — its transformation from per-
haps a subject that may have been
ordinarily "just another picture" into one
of unquestioned box office value and
human appeal — is in the work of its
photographers, the men who took a sub
ject that had been made under the
technique of a decade ago and by the
employment of the most modern de-
vices and implements and the highest
degree of technical skill gave to the
world a picture that will rank in the
Crisp image. Definition when light
is poor and you have to open up.
Color correction for incandescent
or arc light, and for Technicolor,
Bipack, and other color films.
You’ll get them all in a Cooke !
Taylor-Hobson Cookes are
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upper brackets of successful productiens.
Photographers, amateurs as well as
professionals, will be interested in more
than the technical excellencies of this
Jules Verne subject of the period of
1 870. Without a moment's warning,
there is suddenly pitchforked into the
consciousness of the screen follower the
face of a woman, a mother, the mother
of Michael Strogoff. It is a face of
tragedy, one that in its depth, its poig-
nancy, will overmatch anything this re-
porter ever has seen on the screen.
Strangely enough, this is the second
picture in which Fay Bainter has
worked. Her first one, "Quality Street,"
has not yet been released. It is a singu-
lar occurrence when a player makes a
tenstrike in her second picture, with
the first one yet to come and to reap
the inevitable reward awaiting it by
reason of the sudden screen eminence
of one of its actors whose quality as a
portrayer of life hitherto hod been
known only to the followers of the stage.
Film Exports Gain
Ten Million Feet
Over Previous Year
Preliminary figures of American mo-
tion picture film exports for the year
1936 show a 10,000,000 feet increase
in negative and positive sound and silent
films over those exported during 1935,
according to compilations made by
Nathan D. Golden, chief of the Motion
Picture Section of the Electrical Division,
Bureau of Foreign and Domestic Com-
merce.
For 1936 a total of 209,651,404
linear feet of motion picture film, with
a declared value of $4,531,639 were ex-
ported to 101 markets throughout the
world, as compared with 190,690,621
linear feet, valued at $4,597,339 for
1935.
The 1 936 exports of motion picture
film are the largest since the year 1930,
when 274 million feet of film were ex-
ported.
During 1936 exports of negative and
positive sound film to the three leading
markets were in the following order;
Argentine, as in 1935, was the largest
consumer of American motion pictures in
point of footage.
Second in point of footage, but still
our best revenue producing market, is
the United Kingdom, importing during
1936 18,071,389 feet, valued at $525,-
031, as compared with 15,874,353 feet
with a value of $476,392 during 1935.
Brazil again maintains third position
as a leading consumer of American pic-
tures. During 1936 it imported 12,-
785,110 feet of films from the United
States, valued at $252,655, as compared
with 1 1 ,568,669 feet, valued at $247,-
125 for 1935.
102 American Cinematographer • March, 1937
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They Make Pictures in India
Continued from page 91
G. Quiribet, who succeeded Hal Sintz-
enich, A.S.C., as technical advisor for
Kodak, Ltd., in Bombay, and Agfa's
capable consultant, Mr. Hirlekar, have
done excellent work in helping the In-
dian studios to modernize their labora-
tories. In spite of their efforts, however,
some of the smaller plants have fine de-
veloping machines which are left unused
in favor of the more traditional rack-
and-tray systems.
India really needs coaching in Amer-
ican cutting technique, too. Although
their editing is artistically satisfactory,
their methods of handling the film are
too often slipshod. Often, you will find
a cutting room floor completely covered
with film — positive or negative — while
the cutter sits cross-legged and works
with bore hands. Inevitably, virtually
oil Indian pictures ore seriously blighted
by dirt and scratches.
Waxing machines, too, could be used
more advantageously. Too often the
film is not waxed, and the first projec-
tionist who uses o print spoils it by lu-
bricating it with projector oil.
The overage Indian production is
from 12 to 18 reels in length, either of
on Indian mythological or historical sub-
ject, or on Indionized adaptation of o
modern Hollywoodesque subject. The
tempo is usually quite slow-moving.
Sometimes o single song will lost o full
reel.
Six Weeks For Majors
Production schedules and budgets ore
the most nearly American of any in the
Orient. The overage major production
has o schedule of from six weeks to two
months or more, and budgets up to os
high os 1 50,000 rupees, which is about
$65,000. This is six or seven times
what would be spent on o feature in
Japan or the Philippines. The returns
ore proportional, for where on Indian city
may hove one theatre playing American
and European films it will hove o score
playing native productions.
Altogether, the Indian film industry is
advancing. The Motion Picture Society
of Indio is doing a great work in foster-
ing cooperation among its technicians,
immensely aided by Kodak's Quiribet and
Agfa's Brunn and Hirlekar. Such Amer-
ican journals os The Cinematographer do
much to help India's photographers keep
up with the times.
It is unfortunate that so few from
Indio hove hod o chance to receive
training in Hollywood's studios, for such
cooperation would be mutually advan-
tageous, and would help o very sincere
group of artists in their efforts to moke
better pictures for o huge audience
which, due to the language barrier, con
rarely patronize Hollywood's pictures.
March, 1937 • American Cinematographer 103
New Type Infra-Red
Continued from page 96
Paramount, pioneering the use of
this film, has repainted its entire
"Brownstone Street" in o special bluish-
gray. This color has been standardized
under the name "infra-red blue." It is
equally good for day scenes and infra-
red night scenes. It has no red in its
composition.
Two reds may be identical both to
eye and to normal super-panchromatic
films, but with the new infra-red film
one may photograph dark, due to an im-
perceptible bluish content, while the
other will be rendered light. Certain
natural greens reflect a surprising
amount of infra-red and accordingly
photograph unnaturally white with this
film.
One production in which it is planned
to use the new film is taking this into
account, and much af the location's
natural foliage will be sprayed a more
satisfactory photographic green to pre-
vent mishaps.
Wilkinson is pursuing a remarkably
far-sighted policy in making use of this
film. While fully awake to the photo-
graphic and economic advantages of the
film, and definitely planning its use
wherever advisable (one production
alone has night sequences which wi'l
expose more than 20,000 feet of the
new stock), Wilkinson is making no ef-
fort to force its use upon Cinematogra-
pners unacquainted with the film. Every
member of the Paramount staff is given
an opportunity to study the tests al-
ready made, to make more of his own —
and then to use his best judgment.
It is a tribute to both that policy and
the new film that the Cinematographers
who have seen and tested it are with-
out exception anxious to use it on their
own productions.
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104 American Cinematographer • March, 1937
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A.S.C. On Parade
Continued from page 98
quested, in fact most urgently requested,
that for several weeks or even a month,
he be relieved of any assignments. He
got the relief, but the curiosity of the
bunch was unsatisfied.
Then one fine morning Joe burst in
on the department after parking o shiny
cor. With him were Mr. and Mrs. Frank
Copra and Miss Juanita Pollard. Joe
admitted he was on his way to get mar-
ried. But first he had an appointment
to look in on Harry Cohn, who slipped
the cinematographer a bouquet that
made his eyes snap.
Then Joe walked out on the studio,
leaving his amazed associates entirely
flat. Nor have they seen him since. It
was learned later he did get married
and that he and his bride left immedi-
ately for New York. Mrs. Walker is an
expert amateur photographer. So it is
to be assumed that when Joe gets back
on the job he will be extra careful of
his lighting.
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March, 1937 • American Cinematographer 109
AMATEUR
MOVIE
SECTION
SOCIETY
OF AMATEUR
CINEMATOGRAPHERS
BOARD OF REVIEW
John Arnold, President, A.S.C., Executive Direc-
tor of Photography, M.G.M. Studios
Karl Struss, A.S.C., Director of Photography,
Paramount Studios, Academy Award Winner,
1928
Fred Jackman. Treas., American Society of
Cinematographers
Dan Clark, A.S.C., Director of Photography,
"Country Doctor," 20th Century-Fox
David Abel, A.S.C., Director of Photography of
Fred Astaire Productions, R.K.O. Studios
Contents . . .
"KING of Allah's Garden"
Is Bay State Movie
By Mr. and Mrs. Stanley Oscar Bean 1 1 1
COACHING an Olympic Team 'with
16MM
By J. Robert Hubbard.... 112
YOU JUST Can't Help Doing These
Transition Things
By William Stull, A.S.C 1 14
AMATEUR Movie Club News...... 116
BACKGROUND vs. Foreground
Lighting
By John Arnold, A.S.C 1 18
CAMERA Should Be Instrument of
I llusion
By Frank Good, A.S.C ....119
WHEELS OF INDUSTRY 120
KODASLIDE Reproduces Stills with
Great Brilliance 121
CINEMATOGRAPHERS have Language
All Their Own
By Joseph August, A.S.C 122
NEW BAUSCH and
Lomb Laboratory .1 23
Next Month . . .
Next month readers of the Amateur Movie
Section will find entertainment and information
in an interview by William Stull, A.S.C., with
one of the outstanding amateur photographers
in the country.
So also may possibly followers of the Pro-
fessional Section, for the man interviewed,
while an amateur, has traveled far — over the
waters of the world and in the progress of his
hobby. We haven't seen the story, but we
know the two men and their work.
r*ROM the first bite of a
I tool, straight through to
I final assembly, every ounce
f metal and every VICTOR manufacturing operation
relentlessly tested, checked, and re-inspected to meet
n abnormally high standard of quality.
/ithout these ever constant precautions, VICTOR'S
nviable reputation could never have been built.
'ICTOR’S Greatest Superiority, however, lies in those
■XTRA refinements and features that have raised l6mm
erformance to unparalleled heights of perfection — a nd
hat are not to be had in any other equipment at any
rice! ASK today that those Superior Features be
emonstrated.
March, 1937 • American Cinematographer 111
//
King of Allah s Garden Is Bay State Movie
by
Mr. and Mrs. Stanley Oscar Bean
A lthough there is some similarity to our title ond
that of o very excellent recent technicolor film, our
story is os different os is the idea behind it.
With nine years of 16mm fun and experience in mak-
ing four travel, two industrial, two Kodachrome shorts and
one historical production, we wanted to do a feature
length photoplay.
After a visit to Hollywood studios and outdoor loca-
tions in 1933, we wondered what we might do here in our
own "back yard," using New England's varied seasons and
natural lacations.
The scenario was our own — concerning the difficulties
confronting a British telegraph company in maintaining
communications between Uganda and the Sudan, A story
requiring such foreign locale — Africa's desert, veldt and
jungle — was written with the object of demonstrating to
Stanley and Maryjane Bean, authors and producers
of the 16mm “The King of Allah’s Carden.” The
picture was enlarged from film. The location is
the New England coast and was designed to
simulate an African desert.
T he writers of this story, Stanley and Maryjane Bean, of
Amesbury, Mass., admit the subject they have here de-
scribed is a 16mm production with a definite purpose. As
in the early days of the screen the new and necessarily hard-
pushed professional picture producers used the locale of
Fort Lee in New Jersey as a background tor wild western
tales, so these New Englanders created African desert,
veldt and jungle out of Massachusetts sand dunes tumbled
about by a raging wintry Atlantic. Among bodies with
which Mr. Bean is connected are the Stanart Motion Picture
Club and the National Geographic Club. The writers also
make no attempt to conceal that what began as a hobby
may prove to be something else again — but nevertheless
with them the making of pictures continues to be a hobby.
our audiences the cinema possibilities of our northeastern
states.
With five on the production staff and nine in the cast
we went out to prove our point — a little of Hollywood in
New England.
Cur desert was several acres of rolling sand on an island
pounded by the stormy Atlantic. We began the desert
photography in March after the winter's winds had built
large dunes and smoothed the surface of its few wild grasses.
The sun at this time of year gave us long shadows in early
afternoon.
Jungle a Swamp
Our jungle was comprised of a swampy woodland, com-
pletely overgrown with wild grapes and a wicked, thorn-
covered vine locally called "devil-wire." Through this
"hardly penetrable jungle" we cut paths where the action
was to take place. These scenes were completed before
telltale leaves had even budded.
In both jungle and desert backgraunds we were able
to work without recognizable native plants or trees break-
ing the atmosphere. We did a number of scenes in Koda-
chrome, to capture the vivid colors which our warm spring
months supply — to duplicate, if possible, the gorgeous hues
of late-afternoon reflections on glistening sand and the
rich verdure of the tropics.
Our oasis and veldt were most difficult to obtain. To
prove our point we could not resort to artificial settings
or make use of props. A large spring near a brook was
the ideal water-hole except for its background — elm and
pine trees! The shooting angle was overcome by erecting
a platform from which we could follow the action using o
range only to the base of the trees. We played up the
close-range features of our "oasis," which was overhung
with long grasses and a number of giant ferns, as the
"native" villain skulked before the lens.
Next, the scenario called for a long-shot with a wide
frontage of "open veldt." We went back along the sea
coast, but each spot visited continually balked us with
familiar and too numerous trees in the foreground.
"Fort" is Written In
A member of the cast suggested an airfield not far
from a beach which was grass covered, although always
mown. We visited the spot which was ideal — at least a
half-mile wide and an unbroken vista for two miles, with
only sparsely placed scrub growth breaking the skyline.
We waited till late autumn however to make these scenes
when all machine marks were obliterated.
Perhaps the most interesting filming was that of "Fort
Cecil," the scene of considerable action. We had had this
place in mind long before "The King of Allah's Garden"
Continued on page 127
112 American Cinematographer •
March, 1937
y m pic Team with
Coaching an O
D espite his nickname, I don't think Harold
("Dutch ') Smith was exactly a master of the German
language last spring when he signed up to coach Ger-
many s Olympic diving team. It was reasonably certain,
too, that many of his pupils would not understand English.
Under sucn circumstances, conversation just isn't, and
teaching becomes a matter of pantomime.
Unfortunately, tne kind of fancy diving that makes up
the required routine of the Olympiad doesn't particularly
lend itself to accurate pantomime. Even if, like "Dutch,"
you are an Olympic champion and can do all the dives to
perfection, it takes more than pantomime or demonstra-
tion to put over the fact that in one dive, just as you are
three-quarters through your second backward somersault,
you throw your head forward, while in another dive which
looks almost exactly like the first, you throw your head
backward.
Those things happen so fast in a dive . . . and not even
an Olympic champion can dive in slow-motion!
Slow motion! Say, there was an idea — movies! So
"Dutch" rounded up me and my Filmo, and we set to
work to make a slow-motion picture of the complete
Olympic diving routine, the first time this had been done.
Diving By Script
First of all, we prepared a skeleton scenario for our
picture. This was simply a list of the required dives, in
the order they follow in Olympic competition. This didn't
have to be very detailed, for Dutch knows the dives and
their order by heart. When we got to the actual shooting,
perhaps once in ten or a dozen dives, Dutch would glance
at the script to see what dive came next.
The script was intended mainly os a guide to me,
both in planning my shots and in editing the finished pic-
ture. Believe me, I needed it, for there were no less than
eighty different dives, and some of them look mightily
alike if you're not an expert.
At any rate, we prepared our script ("Catalog would
be more correct," remarks the Mrs.), and repaired to the
Harold (“Dutch”) Smith and “script girl” on location.
16 mm Movies
by
J. Robert Hubbard
El Mirador plunge at Palm Springs to make our picture.
Dutch Smith worked a triple play as cast, director and
producer. My motor-driven Filmo and M were photo-
graphic staff, reinforced by 1500 feet of Panchromatic
reversal film. Mrs. Hubbard went along for the ride—
and was pressed into service as "script girl."
inconspicuous Backgrounds
One of the most important things in making a film of
this nature is to have an inconspicuous background. Scen-
ery, fine architecture and pretty girl bathers are all right,
but any of them would tend to distract attention from the
niceties of fancy diving technique. We were rather lucky.
Dutch is universally liked, and when the bathers learned
what he was trying to do they agreed to stay at the other
end of the pool, well out of the picture. Behind the spring-
boards was a fairly high stucco wall, which made an ex-
cellent background for fhe lower shots. Beyond the wall
was a group of dark green trees, the only undesirable
feature of the location from our viewpoint.
Beyond this there was only the clear blue sky as a
background — no buildings, telephone-poles. Or distant
traffic to confuse our shots.
The neutral tone of the stucco wall was perfect for a
background — as far as it went. The sky was brought to
just the right neutral gray tone with a 4x yellow filter.
The only disturbing element was the dark green foliage
in between. For a while we considered putting up a white
canvas backstop to conceal this, but finally we decided
against it, as the day was windy and sure to ripple the
canvas embarrassingly.
The 4x filter, incidentally, was useful in another way.
Dutch, after a season in the open under Palm Springs'
desert suns, was tanned to a magnificent dark bronze. The
filter lightened this tan sufficiently to show it as a tan,
but not as absolute blackness.
Two Days' Shooting
With the exception of two or three close shots showing
such details os the correct way to hold the hands, the
proper walking and running approaches along the spring-
board and the like, we shot our entire picture at the "slow-
motion" speed of 64 frames a second.
This, while it may not be as perfect for slowing down
diving as the 128-frame speed of the special super-speed
Filmo, proved completely satisfactory. It had the advantage
of being more economical of film, and it is always pos-
sible, when one wants to study such movement closer, to
slow the' projector and increase the apparent "slow-mo-
tion" effect.
Using regular Panchromatic reversal film and the 4x
filter, the exposures ranged from f:4' to f:4.5. This was
a necessary compromise in exposure between the low ex-
posure indicated for the sky and the brilliantly reflective
March, 1937 • American Cinematographer 113
water ot the pool and the much higher exposure indicated
for Smith's bronzed body.
We worked for two solid days photographing our dives.
Fortunately, the pool was so situated that we got a good
cross-light both morning and afternoon. This lighting was
almost perfect for our purpose, for it gave a very pleasant
modeling on Dutch's figure, with enough high-lighted area
to contrast well with all parts of the background.
This is important, for unless the background is a single
expanse of one neutral tone and the diver properly lit,
there is always the danger that at some point in the
scene the diver's body may seem to merge into the back-
ground, losing important technical details.
Filmed With One-Inch Lens
All of the dives were shown in long-shots, which were
filmed with a standard f:2.7 Cooke lens of 25mm (one
inch) focus. One or two shots illustrating special details,
such as foot-action on the springboard, were made with
two-inch and four-inch telephoto lenses; but speaking
generally a one-inch lens is oil that one needs for this
work.
Thorough rehearsal is necessary if pictures like these
are to be of value. Our routine was simple enough; Dutch
would practice each dive until he felt he was at top form,
and I would practice "following" his movement through
the finder until I was sure I could make the shot per-
fectly. Then we'd make the scene. If the dive wasn't per-
fect, we would retake it. If it was, we'd go on to the next
dive.
When you see these dives on the screen, with Dutch
floating through them in slow-motion, it looks as though
it must have been easy to follow the movements with a
one-inch lens. Actually, it was quite hard — especially with
the more intricate dives from the three-meter board.
The dive actually was four times as fast as it appears
on the screen, and shooting a big fellow like Dutch doing
a double somersault with a couple of twists thrown in — -and
doing it without leaving a few arms and legs out of the
picture — is definitely a tricky task.
Script Helps in Editing
As we filmed each dive the script girl checked it off
against the list in the script, noting how many "takes"
we made of each, and which one was the okehed one.
When the film came back from the laboratory, we broke
it down into individual scenes and eliminated the NG'd
takes. Then we arranged the dives in their correct order
and started splicing. Most of the dives had been shot in
their proper order; but a few of the more intricate ones
toward the end ot the first day's shooting had been post-
poned until the next morning, when Dutch felt fresher,
and could do them better.
The picture's total length was about 780 feet, which
included eighty dives and as many titles. The film, though
one continuous production, was broken up into two reels.
Reel One is devoted to dives from the low (one-meter)
board. Reel Two is devoted to the dives from the three-meter
(ten-foot) board. The former scenes were all made from
a normal eye-level viewpoint.
The scenes of the dives from the higher board were
made from a viewpoint about even with the high board.
Since at the start of the picture we showed close shots
of the proper aporoaches to the springboard, both walking
and running and such details, we saved a good deal of
footage by only showing the dives themselves.
Titles Kept Simple
Since the film was made to aid in coaching divers who
might not know much English, we kept the titles very
simple. Naturally, we had to collaborate on them. Dutch
noted down the proper name of each dive and any notes
on form he thought fit. Then I boiled down the wording
to the minimum. Ultimately, the titles were reduced to
a mere statement of the officiol designation of the dive,
and its sub-type, with the briefest of technical notes, sucn
as "Aim inner arm toward point of entry." The picture
told the rest of the story.
Diving Films Make Sensation
That, incidentally, gives one o good criterion by which
to judge whether or not he has been successful in making
a picture of this type. If you find your film needs long-
winded explanatory titles to make its meaning clear, the
man at the camera has failed. After all, the only reason
for moking a picture is to tell something that can't be QOt
across with mere words. If the picture needs wordv
titles to complete its story, you can take it as a c.ear sig-
nal something is wrong with the picturemaking.
The way the athletic world has received the picture sur-
prised botn of us. We realized it was the first time all of
the Olympic dives had been recorded on film for a study
of diving technique, but we hadn't expected to create such
a sensation. The Germans, of course, were enthusiastic.
Colleges Buy Prints
Then, after the Olympic Games, a University in Johan-
nesburg, South Africa, asked to buy a print. Here in this
country coaches at Yale, Princeton, Stanford and many
other colleges have followed suit, with more heard from
almost daily. Fortunately, after cutting the original re-
versal film, we had made a duplicate negative, so all
prints are equally good, without scratches or any signs
of projection-wear such as would have been inevitable had
we not made the dupe negative at once.
Making this picture was mighty interesting, but if you
imagine it was ploy, consider this. Counting rehearsals,
extra takes, and all, Dutch Smith did well over 200 dives
to give the 80 perfect ones shown in the picture. Well
over half of these were done from the high board, and in
addition to diving Dutch had to climb more than ten feet
up to the board each time.
When we finished those dives, Irving Berlin, who was an
interested spectator, figured that in addition to his diving,
Dutch had climbed nearly half a mile straight up — just
getting out of the water!
As if that wasn't enough for him, after the day's work
was through, Dutch would remark with a grin: "Come on
in. Bob, the water's fine!" And we would spend half an
hour swimming and diving — just for fun.
“Dutch” Smith on his way to the water.
114 American Cinematographer • March, 1937
y ou HEAR A LOT about the subject of "transitions”
in discussions of professional movies. When you go
to the theatre you often see so many intricate "wipes,"
"montages" and such that you are likely to limit your
thoughts of transitions to these tricks, and then to dismiss
the whole subject as something too involved for amateur
filming.
Some of these intricacies are, it must be admitted, rather
beyond the scope of any amateur except perhaps the fel-
low with a Cine-Kodak Special and a world of patience.
But they are by no means the whole of transitions.
The truth of the matter is that as long as we make
movies, professional or amateur, we simply can't help mak-
ing transitions. Every time we end one scene and start
another we've made a transition. Every time we splice
two scenes together we've made a transition. Every time
we join two groups of scenes together we've made a transi-
tion.
Reduced to the simplest terms, a transition is a change
from one filmed idea to another. That idea may be sub-
ject-matter, place, time or action. The change may be
great or small. On the screen, it can be abrupt or smooth
— quick or gradual, according to how one handles his
transition.
Direct Cut Simplest Transition
The most elementary transition is the direct cut. It is
also the most abru.ot, and it can be the most confusing.
At one moment one scene may be on the screen; a six-
teenth of a second later something entirely different may
be screening.
This is the logical transition to use between closely re-
lated individual scenes. When you cut from a long-shot
of a given action to a closer shot of the same action, the
transition is excellent, for there is no waste motion — no
time lost. When from a shot of one person doing or say-
ing something you cut to a shot of another person obvious-
ly watching him or listening, again the transition is good,
for you've taken the quickest and most direct way.
On the other hand, if you try to use direct cuts between
sequences, you are likely to confuse the audience, unless
the action or setting of the sequences is very closely related.
Such a transition is so abrupt a person watching it on the
screen has no time to readjust his mind from one line of
thought to the other.
Fades
The fade-out and fade-in are the most all-round useful
of all transitions. The fade-out is as positive as the period
at the end of a sentence. It says beyond contradiction,
"This is the end of this idea." The fade-in is just as posi-
tive. It asserts, "Here comes a new idea — be ready for it!"
Two strips of waterproof masking tape and fading
chemicals will make a wipe like this.
If You Make
M ovieS/ Amateur
Or Professiona
By William
Used together, the fade-out and the fade-in give a smooth
and positive change from one thought to another, and at the
same time give the auditors that fraction of a second's
pause necessary to readjust their minds from one train of
thought to another.
Fortunately, fades are among the easiest transitions to
make, whether you make them in the camera, or after
the film is processed.
The simplest way to make a fade in the camera is by
closing or opening the lens. But if you are shooting out-
doors, with your lens already well stopped down, you've
very little leeway left for fading — not enough, certainly,
to fade completely out. In an f:16 light, for instance,
you'll still get too much exposure for the dark end of your
fade even if the lens is closed to its smallest stop, which
with sub-standard lenses is usually about f:22.
If you were using a filter you would probably have your
lens much wider open, and you could get a definite fade:
but your scene may not always call for a filter. An easy
way to get around this is to use a Neutral Density filter^ —
one which has no coloring to affect the color-rendition of
your scene, but is simply a dense gray-black, to affect ex-
posure-values and lessen contrast. In that same f:16
light, if you use for example a 1 .00 Neutral Density filter,
you will have to shoot with your lens opened to f:5.1' to
get the same relative exposure. This gives ample range
for lens-fades.
The various fading-glasses on the market are simply
graduated Neutral Density filters which can be moved
across the lens to make a fade.
Making Fades On Finished Film
A year or two ago the sub-standard filmer who, after
he had shot his picture, discovered that he wanted fades
was out of luck. Dr. Loyd Jones, A.S.C., of the Kodak Re-
search Laboratory, had evolved a formula which produced
fades chemically on developed positive or reversal film, but
the chemicals were hard to get. I was unable to obtain
them even in Hollywood; and though substitutes were avail-
able, they were like most substitutes, and didn't work so
satisfactorilv.
Since then the man I tried to get those dyes from, T. R.
Barrabee of the Dye Research Laboratories, has devised a
compound that enables anyone to make his own fades
easily. It is marketed as "Fotofade." You simply add
the proper amount of water to the dry chemicals, and your
solution is ready. Wet your film in water for a half a
minute and clip a weight at the end you want darkest in
your fade.
Then drop the weighted end into the solution frame by
frame. When your fade is long enough, give the film a
March, 1937 • American Cinematographer 115
You Just Cant
Help Doing Th ese
Transition Things
Stull, A.S.C.
shake and pull it out quickly. Rinse it in clear water
(preferably circulating) for fifteen or twenty seconds,
squeegee the film between moist chamois — and when the
film is dry you will have a perfect fade. It's as simple as
that!
Lap Dissolves
The lap-dissolve is on extension of the fade-out and
fade-in combination, with the fades superimposed. Un-
fortunately, it has to be done in the camera. If your cam-
era is one of the many not equipped to wind the film
backwards, you can still make dissolves — if you will work
painstakingly and carefully.
First, you mark a definite starting point on the film.
An easy way to do this is to remove the lens and mark
crosses on several frames with a grease-pencil. Then you
make your scene in the usual way, carefully counting off
the footage. Suppose your scene runs five feet, and then
you fade aut in two more feet. Very well, put on your
lens-cap, and run the rest of the roll through, unexposed.
Now rewind the film. Bring it back to the starting-
point you marked. Again with the lens-cap over the lens,
run through the five feet of your scene, checking this either
by counts or by watching the footage meter, if your cam-
era has an accurate one. When you ore set up on the
next scene make your fade-in as usual, carefully keeping
it to the same length as the previously exposed fade-out.
If you have done things accurately you will have a per-
fect lap-dissolve.
Dissolves on Finished Film
Obviously, you can't make a lap-dissolve chemically on
finished film. In an emergency, though, it is possible to
make them by a modification of optical printing. Project
your scene, frame by frame, on a sheet of ground glass,
and rephotograph it with a camera on the other side of
the screen, exposing one frame at a time in stop motion.
You will have to give the film in the projector a half-turn,
so that the dissolve will be correct as to right and left.
You will also be likely to have some difficulty in accurate-
ly matching the contrast of your "duped" scenes.
This single-frame work is very slow, so it is a good idea
to make only the lap itself this way, with possibly a few
frames at each end to simplify the matter of cutting it in-
to its proper place.
The dissolve is a rather tricky thing to use, however,
for it is such an unobtrusive transition that it should be
used only between ideas that are closely related. If it is
used to join unrelated ideas, it can be even more confus-
ing than a direct cut, for the change of thought sneaks up
and catches the audience unawares.
An interesting variation, used by several competitors m
the various Cinematographer Contests, is to fade out in
the usual manner and then, instead of lapping it with a
fade-in, bring the following scene in with the old-fashioned
"iris-in" effect produced by such devices as the Filmo
"Iris Vignetter."
Wipes
The "wipe" in its various forms is an interesting transi-
tion, but one that must be used sparingly. It is definitely
a trick, and it usually calls attention to itself.
Simple wipes can be made by sliding a dark card over
the lens, far enough forward to give a reasonably sharp
line. If your camera will wind back, you can, with care,
make one s:ene wipe its predecessor off the screen. Other-
wise, you can have both scenes wipe in the same direction,
with a black interlude between. You can have one scene
wipe out in one direction — say, sideways — and the other
wipe in from another, say, uo from the bottom, or at an
angle.
A mechanical wiper like the Dumorr is very helpful in
making these tricky transitions smoothly.
Chemical Wipes
Where a wipe involves the scene being wiped off by
blackness, Fotofade is perhaps the easiest method of get-
ting good wipes. In this case, you simply cover the parr
of the film you want clear with waterproof masking tape
and soak the film in Fotafade for two minutes.
The tape must be applied on the emulsion side of the
film, of course, and it must be pressed down firmly, so the
solution can't creep under the edge and give a blurred line.
If you apply two parallel strips, about one frame apart,
and placed diagonally, you will have both wipes traveling
in the same direction. If one tape slants in one direction,
and the other in the opposite direction, the two wipes will
be in opposite directions. If two tapes are crossed, the
wipe will begin in the center of the picture and spread
outward. To have the wipe start at the corners and spread
inward, use a long narraw V of tape. Using such a wipe
where two scenes ore spliced together, you can block out
the splice completely by making the wipe after the scenes
are spliced.
Subjective Transitions
All told, we have a pretty complete vocabulary of tran-
sitions. There are direct cuts for quick changes between
closely related shots. There is the fade-out and its com-
Continued on page 124
A wipe like this is a quick, positive transition, but
calls attention to camera trickery.
115 American Cinematographer • March, 1937
AMATEUR MOVIE
CLUB NEWS
Los Angeles 8mm Club Turns
Out in Fo rce for Excellent Program
T he stated meeting of the Los Angeles 8mm Club
was held in the Bell and Howell Auditorium, 716
North Lo Brea avenue, February 9. Dr. F. R. Loscher,
the president, was in the chair. Nearly 150 were present.
The session was notable for the showing of two unusual
amateur subjects, a travelogue in color by John E. Walter
portraying the scenic beauties of the Northwest and a
pictorial presentation by Robert W. Teorey, First Sergeant
of Marines, of the President's 16,000-mile trip to South
America.
Bion Vogel, Randolph B. Clardy and C. W. A. Cadarette
were named as a technical committee to give advice across
a ten-minute period. The men named also will judge
and analyze such films as members may submit to them.
Mr. Clardy, a commercial artist, was appointed club
artist, to have supervision of art work, designs and ad-
vertising. E. J. Brouillette was named corresponding secre-
tary, a new office made necessary by the increasing mem-
bership. The ten members admitted since the first of the
year brings the total to seventy.
It was decided to rent the 8mm version of "The Covered
Wagon," in six reels, for study of photography, cutting
and titling technique. In order to cover the cost each
one attending will be asked to contribute a dime.
The president announced the publication of a club
mogazine. It will make its appearance under the title of
Thru the Filter. In a circular prepared for the members
suggestions are made for contributions regarding some pet
gadget, ideas for club advancement, committee reports,
time saving kinks, etc. At the beginning it was the im-
pression the new-comer would be a quarterly.
William C. Wade, chairman of the leader strip commit-
tee, presented each member two printed cards with the
wording "Member Los Angeles 8mm Club," one on white
stock for panchromatic film and the other on blue stock
for kodachrome film. They ore designed to be used, as
is in more detail set forth in onother column of this issue,
in the members' titlers.
At the request of the president, the retiring editor of
the American Cinematographer, Charles J. VerHalen,
presented George Blaisdell, his successor, who briefly re-
sponded.
One of the features of the evening was the contest
showing of three films photographed by wives of members.
These were Mrs. Alva Cadarette, who presented "They'll
Do It Every Time"; Mrs. Arthur Svenson, "Smudge Smoke,"
and Mrs. Aleander Leitch, "A Day on the Range." The
judges made the awards in the order named. The sub-
jects displayed merit and were followed with particular in-
terest by the men, who appeared to look upon them as a
threat to their own standing in their own photographic
world.
C. G. Cornell showed "Wifey's Away," a comedy award-
ed fourth prize in the December contest.
Mr. Walter contributed in a large degree to the pleas-
ure of the meeting when he showed his three-reel Koda-
chrome "1936 Travelogue," the filmed story of a jour-
ney along the Pacific coast and into the northwestern por-
tion of the country. It was worth the walking of a mile
for any one to get a peek at the beauties unfolded by
the artistic photographer.
The final subject on the program was something far out
of the ordinary in the way of pictures amateur or profes-
sional. It was contributed by First Sergeant Teorey. It
was titled "The Cruise of the U.S.S. Chester to South
America;" and was in three reels, 8mm. The Sergeant
was stationed on the Chester, the convoy of the Presidem's
Indianapolis. Like its immediate predecessor on the screen
it was heartily applauded.
The meeting adjourned at 1 1 :30.
Littles’ Eighth Movie Party Will
Draw on Nine Countries
The eighth annual movie party is slated to be held in
New York, April 2. For it Mr. and Mrs. Duncan MacD.
Little have issued eighty invitations to friends living in
ten states, three Canadian provinces and seven foreign
countries. Forty of the number are confined to the metro-
politon district.
The setting for the party is the Salles des Artistes, 1
West Sixty-seventh street. New York. The program is
restricted to amateur motion picture films. These will
have been produced by the guests of the evening. Owing
to the large and increasing number of films now being
submitted for this outstanding amateur exhibition it has
been found necessary to leave to an independent commit-
tee the selection of the subjects to be shown.
No restrictions are imposed by the Littles as to sub-
ject, classification or length, except that it was preferred,
owing to limited time, no entries exceed the easy capacity
of a 400-foot 1 6mm reel or a 200-foot 8mm. No con-
siderotion can be extended to a 35mm subject. The final
date for receipt of entries was February 27.
Competition in the showings always has been scrupu-
lously avoided. Selection will not mean the films to be
screened are in any sense better than those not selected.
It will mean the judges have attempted to provide what
they consider an interesting program for entertainment of
the guests. Following the selection of the films musical
backgrounds also were to be chosen.
In other years travelogues have been in the majority of
the films submitted. Among other subjects shown have
been melodramas, international sports events, semi-indus-
trials, comedies, African hunting, archaeological discovery,
current historical events of local interest (local to other
places as well as to New York) and such unique things as
Continued on page 126
ClBfE-KODAK*E
witL -^.3.3 3 c^jjcedj-
KODASCOPE*EE
F ixed-focus, the 16 mm. Model E is fitted with the
famous Kodak Anastigmat /.3.5 lens which focuses
sharply on all objects from a few feet distant to infinity.
The “E” may be operated at any of three speeds —
Normal, Intermediate, or Slow Motion — 16, 32, or 64
frames per second. Exclusive with the Model E is its
new-type enclosed eye-level finder. When you sight
with it you see both image and footage by means of a
supplementary footage indicator at the side of the
finder image. And, because of the “E’s” angled top,
you need not take off your hat when sighting. Single-
plane loading, a simplified gate, and ample finger room
greatly facilitate loading with 50- or 100-foot rolls of
Cine-Kodak “Pan,” Super Sensitive “Pan,” Cine-
Kodak Safety, daylight Kodachrome, or Type A Koda-
chrome Film for Photoflood light.
Added Advantages
The “E’s” exposure lever may be pressed down into
locking position so that the operator may get into the
picture himself when the camera is set on a flat surface
or affixed to Cine-Kodak Tripod. The Model E’s sturdy
<lie-cast aluminum case promises years of scar-free use-
fulness. Only $48.50 at Cine-Kodak dealers’.
U ndoubtedly the most important feature of the 16
mm. “EE” is projection “tailor-made” to individ-
ual projection conditions. The five projection lenses
and 400-, 500-, and 750-watt lamps available for the
“EE” enable it to supply just the right amount of light
for any screen up to 8 feet in width and at distances
from 0 to 64 feet.
Projection Table Unnecessary
The base of the Model EE is designed for projection
from carrying case top, thus eliminating the need for
projection stand or table. Its 30° tilting device permits
you to direct the projection throw up or down to a
screen on floor or table. The Model EE is extremely
cool and quiet in operation — cool, because of its power-
ful fan and efficient cooling system; quiet, because its
six major bearings are permanently lubricated. Its tan-
dem pull-down assures steady projection; its rewind
clutch eliminates belt changing.
The price of the “EE” is but $59.50, including 2-inch
f.2.5 lens and 400-watt lamp — a combination supply-
ing ample illumination for average home shows. Here,
obviously, is the outstanding projector value in the 16
mm. field. See it at Cine-Kodak dealers’.
118 American Cinematographer • March, 1937
Background vs. Foreground Lighting
A fter viewing a number of the splendid films en-
tered in the 1936 contest conducted by the Amer-
ican Society of Cinematographers, I have a comment
to offer in regard to the lighting of interior scenes.
It is prompted by the too-evident lack in most of these
scenes of what we term balanced lighting. There was a
woeful amount of flatness, or lack of depth to the pictures,
and little separation of characters in foreground from the
supporting background.
The impression gained was that the cine-amateur sets
up his lamps on either side of his camera, directs them at
the field of the scene and, so long as there is a sufficient
quantity of light to make exposure possible, rests content
with such general or flood lighting. This is not productive
OT the best results.
The subject of interior lighting is a big one and can
scarcely be set forth in this limited space. Every shot is
different and the lighting technique demanded is corre-
spondingly varied. But there are a few fundamental prin-
ciples that can be applied to the majority of interiors pho-
tographed by the amateur.
Two Factors in Composition
It is essential to realize that there are two separate and
distinct parts to a pictorial composition as generally used
for the screen; the background and the foreground.
Each is important and each contributes its share to the
ensemble's effectiveness. They have a definite relation-
ship and, when properly employed, supplement each other.
Lighting must be done with this well in mind.
In most interiors filmed by amateurs, characters com-
prise the foreground and a room of the home furnishes the
very acceptable background. Hence, I shall speak of char-
acter lighting as compared with background lighting.
Audience interest lies in the actions of your characters.
They must be readily seen. They must stand out against
the background, not merge into it and become a part of
it. This latter effect is exactly what occurs when one
blanket of light is used to cover both characters and back-
ground.
In making close-ups and close shots of one, two or even
three persons, the interest centers in their faces. The
background is unimportant, as the locale has been previ-
ously established in other and longer shots.
Here, lighting should be concentrated wholly on the
close-up faces. When suitable modeling has been obtained
by proper disposition of lamps, the spill-over of light to the
background is generally sufficient to handle it. The back-
ground should purposely be vague, neutral and a support-
ing but not confusing background to the facial portraits.
When Handling Differs
But on longer shots, as where characters are seen in a
room, with its furnishings and walls as background, thought
must be given to lighting of the two factors.
The characters, as indicated by the clothing, complexion
and hair, will be darker, or lighter in tone than the walls
forming the background, or possibly very much the same
color. Each condition asks for a different handling.
If the characters are of a darker tone, the background
should be lighted with reasonable brilliance while a soft
and diffused light plays on the characters. This will ac-
centuate the tonal differentiation and cause the characters
to stand out boldly against the background.
When characters are of tone lighter than their surround-
by
John Arnold, A.S.C.
ings, lighting is reversed. Throw just enough light over the
background to make it amply visible, but concentrate
light on the players. Side lighting and back lighting will
enhance the characters, with possibly a strong back light
to "rim" their figures or faces. Again, the result is to have
the individuals revealed in sharp relief against the back-
ground.
When tonal values of characters and background ore
much the same, light must be laid heavier on the char-
acters. From a third to a half more light should be in
the foreground than in the background. Here, again, "rim"
lighting from the back will be of aid in showing a clear
line of demarcation between character and setting.
These applications of light will give depth to the com-
position, life and luster to the picture, and make the char-
acters real people cleanly etched against an enhancing
background.
Balance in Lighting
Throughout, and by far the most difficult for the ama-
teur to achieve, is the important factor of securing balance
in the lighting effect on both the foreground and back-
ground. Neither should be "burned up" while the other
suffers from inadequate light. Highlights on a character's
face may often be balanced with deep shadows in the back-
ground.
In this work, the cine-amateur will find a few additions
to the usual set of lamps to be emphatically useful. Maz-
da and photoflood bulbs of different sizes will solve many a
problem. Reflectors need not be oil of one shape or size.
By having a variety available, light can better be placed
as desired. An assortment of inexpensive tin or alumi-
num basins, as available at ten-cent stores, makes very oC
ceptable reflectors.
For close-ups and for all head portraits, a baby spotlight
is invaluable.
Diffusion of light, which breaks the beams into soft
illumination, may easily be secured by simply hanging fab-
ric of the required thinness or even tracing-cloth before
the lamps.
Silver or gold reflectors, too, can be used on interiors
as well as on exteriors.
Just as you do not always shoot exteriors with the sun
directly at your back, so your interiors need not be lighted
from immediately behind the camera and at camera level.
It is well to have your main source of light well to one side
or the other. For the best results, the lamps should al-
ways be higher than the camera.
And a word of caution. Doors, painted walls, polished
furniture and other flat areas may serve as mirror-like re-
flectors of your light. Watch for glowing "hot-spots" on
them that betray the location of your lamps.
If you will always look upon your characters and your
background as two distinct lighting problems, and always
light one with consideration for the other, you will avoid
one of the commonest of amateur filming errors.
March, 1937 • American Cinematographer 119
m e rd
Should Be
n stru m e nt
T wo VERY interesting films were shown at our re-
cent cine-omoteur contest. Both were much the
some os to general content; mostly factual, some-
what fictional, they concerned activities of children in the
two households with just enough thread of story and con-
tinuity to maintain o reasonable degree of audience inter-
est. In short, typical family films such os ore being filmed
every day in countless homes.
But — what 0 difference in those two pictures! They ore
os different in treatment os the personalities of the two
men who mode them. Which again emphasizes the amaz-
ing flexibility and versatility of the modern cine-camera.
It responds to every whim and desire of its operator. And
that tosses the whole matter of photographic qualities right
into the lop of the cinematographer. He gets in his fin-
ished pictures exactly what he puts into them.
The first film was shot by o doctor. He mode the pic-
ture just os he does everything else; from on impersonal,
coldly scientific knowledge token from demonstrated ex-
periences of the post. His focus and exposure ore right
on the nose; that was to be expected.
What were intended to be photographic portraits of his
children appear on the screen os so many clinical studies.
Every freckle is revealed in unblushing prominence. Every
physiological detail of the cute little faces is frankly ex-
posed. Brilliant light penetrates every wrinkle and dimple.
There ore no shadows to speak of. The whole film is os
imaginative os a hospital case-record.
The second picture was mode by a born salesman, bub-
bling with enthusiasm and imagination. Frankly, he's not
os proficient a cameraman as is our infant-usher. Many
of his scenes are open to the same criticism that befalls
most. Focus could be better, exposure is a little off. But
what a wallop his pictures have! Women fairly coo over
them.
Every one of his shots is packed with human interest
and framed in pleasing composition. His youngsters look
like angels from a picture gallery. Shadows fall across
the faces, imparting a wistful charm. He chortles happily
that his camera "cheats."
It does — and it should. For the greatest and most uni-
versal appeal of motion pictures lies in the illusion they
create. When devoted to entertainment they are an
agency of enhancement, of glamour, of glorification.
Our world would be drab indeed if our mental capacity
encompassed only bare truths and shut out hope, imagina-
tion and the capacity to attribute to others rare and
priceless qualities which may be visible only to our inven-
tive eyes.
So with motion pictures. The very industry is built on
fanciful romance and deliberate creation of illusion. Greta
Gustafson, in her own personal appearance, man-
nerisms and words, might or might not be of screen in-
terest. But as the exotic Greta Garbo, in studied hair-
dress, make-up and costume, in rehearsed action and
speech, she is a fascinating creature millions pay money to
see in images secured by shrewd camera application.
Most famed stars, whose galloping images send pulses
racing, are, in bathing suit or hospital cot, nothing to send
picture postcards home obout. It is camera treatment
that transforms them to heart-quickeners.
A set may be aniy a three-sided room of wallboard, but
it is a mansion when you see it screened.
u s i o n
by
Frank B. Good, A.S.C.
It all rests with the camera — and the man behind it.
Motion picture moking consists not so much of taking
precise photographs of subjects as it does of creating a
pleasing picture from given raw material.
This aggrandizement of character or vista may be
achieved without destruction of identity. It is simply, to
use the most popular Hollywood term, the injection of
"glamour" to the treatment of your subject.
Light is what turns the trick — light, and the way you use
it. Hard, harsh white light is severe, penetrating, flat-
tening, all-revealing. Soft, diffused light is kindly, flat-
tering, bewitching.
Photographic light can be and usually is diffused at two
points; at the lamp source and also before the lens.
Step on a studio set and you will see scarcely a naked
light unit. Diffusing devices of one type or another, to
provide definite effects, are everywhere. Some, for further
complimentary effects on certain types, are slightly colored.
And a diffusing filter is as standard camera equipment
as the lens. It can be safely said that nearly every studio
shot is made with the aid of such a filter.
The amateur can profit from these studio standard
practices that contribute to screen illusion and personality
glorification. Lighting units are not expensive to buy and
cheap to make. Have more than sufficient to provide
minimum illumination. Have several shapes and sizes of
lights and try out various sizes of lamps.
For diffusion, make a simple frame of wire or wood.
In it place material of semi-transparent nature that light
will shine through — tissue paper, thin oiled paper, cello-
phane, silk, bobinette, cheesecloth, gauze, veiling, scrim.
Don't be afraid to use a little color — violet, pink and blue.
Light so diffused will appear to soften faces, round out
sharp features, give warmth and modish modeling. Set
one main key light to establish your lighting source and
with the other units play for effects. Give heed to the
general impressian, then give particular attentian to eyes
and mouth — the most expressive features. And the pos-
sibility of highlights in the hair. Illuminate the back-
ground sufficiently to establish its character and obtain
depth to your picture. It mustn't fade away vaguely into
semblance of a painted backdrop; it is to supplement and
build up your foreground.
When outdoors under sunlight, use larger frames filled
with netting and mounted on poles, to break up the beams.
Silver and gold reflectors cost little to assemble. Use
them to control shadows and accentuate highlights.
A diffusing filter for your camera is one of neutral color
value. Your dealer doubtless can furnish severa types. If
not, the maker of your camera will tell you where you can
secure them. Price is small.
Continued on page 1 28
120 American Cinematographer • March, 1937
T HE EXPORTATION from the United
States of 16mm projectors for 1936
reached o figure of 7388, on increase
over the year preceding of more than
5000 machines. The figures ore authen-
tic, being supplied by the Department
of Commerce, through the enterprising
chief of its motion picture division,
Nathan D. Golden.
The value of the exportation was
$304,278, which compared with $124,-
933 for 1981 projectors sent out of the
country in the preceding year. This
means the overage return to the manu-
facturers was $33 each.
Also it means the enthusiasm for
ownership of a motion picture camera
is not confined to the United States —
that it spreads to the for corners of the
world. There will be much in Mr.
Golden's information that will hearten
American manufacturers of 16mm and
8mm equipment to keep abreast of their
possibilities in the foreign markets.
Sound motion picture equipment ex-
ports during 1936 have increased over
$600,000. During this period $2,105,-
288 worth of American motion picture
reproducing and record ng equipment was
exported to all foreign markets as against
$1,482,281 worth during 1935.
Leica Exhibit Closing
• The third international Leica exhibit
will come to a close in Boston March 12.
The sessions will be held in the Haw-
thorne Room of the Parker House begin-
ning March 8. The hours will be from 1 1
in the morning until 9 at night. The
illustrated Leica lecture is set for 8
o'clock in the evening of March 10 in
the Boston City Club. In Providence,
from March 1 to 6, the exhibit will be
held in Faunce House, Brown University.
Show Some Native Films
Assistant Trade Commissioner Miles
Hammond, at Mexico, reports motion
picture exhibitors in Mexico are required
to show at least one nationally pro-
duced film a month in their houses under
the provisions of a law project approved
by the Chamber of Deputies. Never-
theless, in practice it has been found
the application of the law is not onerous,
as requirement is not mode that the na-
WHEELS
OF
tional picture be shown to the exclusion
of foreign films on the same program.
Under Article 2 of this law exhibitors
are entitled to a reduction to 8 per cent
from the 15 per cent collectible as tax
on their daily receipts. This is under
Article 99 of the finance law of the
federal district and federal territories on
days when they show films produced
in Mexico.
Those exhibitors who do not adhere
to the one Mexican film a month quota
requirement are liable to a fine of from
50 to 1 000 pesos for a first offense and
to cancellotion of license for a repeated
offense.
Desert Service by Morgan
• The new Palm Springs branch of the
Morgan Camera Shop, which was opened
for business last November at the be-
ginning of the resort season, is conduct-
ing a fast finishing service between the
Springs and the company's establish-
ment in Hollywood. The store is carry-
ing a good line of Leica, Eastman, Bell
and Howell and Zeiss cameras. Mrs.
Nina Morgan is aiding her husband in
the conduct of the store.
New Mogull Catalogue
• Mogull Brothers of 1944 Boston
road. New York, has issued a 72-page
catalogue of 16mm silent films. The
seventh edition of the booklet lists
dromos, comedies, cartoons, sports,
travel, religion, educational and miscel-
laneous subjects. To those interested
in 16mm films the company will send
the catalogue on request.
Leica Expands
• Morch 1 M. Leitz, Inc., goes into its
new home in the Heckscher Building, at
730 Fifth avenue. New York. The ex-
panding clientele of the company had
made necessary the move to larger
quarters in order adequately to accommo-
date Leica owners. All members of the
American Cinematographer family are
invited to visit the new Leica home,
where they will find available enlarged
facilities fgr the demonstration of the
camera, its accessories ond opparatus.
Triax Cine Tripod
e The Triox Cine Tripod is announced
by Burleigh Brooks. The device is of
four sections, mode of aluminum and
is provided with a pan-tilting top. A
scale, subdivided to every 15 degrees, is
INDUSTRY
etched on the round panoraming top for
convenience in synchronizing the edges
of the separote parts of a picture.
The tripod is essentially rigid and
secure — a tilting lever when pressed
down locks the panoraming feature, and
the extending handle grip when it is
tightened locks the tilting feature.
"Wellcome" Diary for 1937
• The new edition of the "Wellcome"
Photographic Exposure Calculator, Hand-
book and Diary for 1937, is announced.
One of its features is that it gives in-
formation as to the speeds and develop-
ment characteristics of nearly 300 dif-
ferent plates and films and comparative
exposure foctors for development papers
and lantern slides.
The monographs contain information
of interest ond utility on such subjects
as developing, printing, enlarging, ton-
ing, color and infra-red photography.
A Lot of Lenses
• When one firm in the course of a
quarter century grinds out (and please
note that is not slang, brother) a mil-
lion lenses that's real news in any pub-
lication. That is the record marked up
by Joseph Schneider & Co.
When the company began business in
Kreuznach it was agreed no inferior
product would be permitted to leave its
factory and that one of its chief aims
would be to send out precision lenses to
be sold at a reasonable price.
So the company tells us the millionth
lens has left the factory. A bit of figur-
ing will show a significant result — that
the company has produced an average
of 40,000 lenses each and every year.
And that is a lot of lenses.
Big Merger in India
• Announcement is made by Fazalbhoy
Limited, with administration offices at
160, Tardeo Road, Bombay 7, that
under that corporation name will be
conducted in future the business for-
merly carried on by A. Fazaibhoy &
Sons, Bombay Radio Company Ltd., and
Sound Equipment Company Ltd.
Film Dryer by Brooks
• Burleigh Brooks announces the Bee
Bee Viscose Film Dryer, a film and plate
drying device of American construction.
Continued on page 124
March, 1937 • American Cinematographer 121
Kodaslide Projector
Reproduces ^Stills^^
With Great Brilliance
N ews comes from Rochester announcing the Koda-
slide Projector, a product of the Eastman Kodak.
Company. This instrument provides owners of
Kodak Retina, Kodak Bantam Special and other miniature
cameras with an ideal means of projecting their "still"
pictures. Manufactured to precision standards, this bril-
liant projector throws screen images with unusual clarity
over a large picture area, as shown in the accompanying
table.
Either full-calor Kodachrome transparencies, or black-
and-white film pasitives from No. 135 to No. 828 nega-
tives may be shown. For projection, each individual picture,
properly masked, is mounted in a 2 by 2 inch glass slide,
suitably bound.
The projector is strong, solid and extremely easy to use.
It has an attractive baked block-enamel wrinkle finish
and dull-nickel operating parts.
This "douser" method of shifting from picture to pic-
ture is one of the projector's chief features. The 2 by
2 inch glass slides are inserted in the metal gate ot the
top of the slide holder and are gravity-fed by means of
the slide-shifting lever at the side of the projection head.
After the first picture has been viewed the lever is
raised. The image on the screen is cut off by a shutter.
Then, when the lever reaches its limit, the slide just pro-
jected drops by gravity ta the holder below the projection
head. In this position the dropped slide acts as a stop
to locate the next slide in the projection gate. As the
lever is lowered to its original position the new slide is
clamped into position by spring fingers and the shutter
opens, revealing the entire picture properly positioned and
securely held in focus. The slide previously projected may
then be removed edgewise from the holder.
Lamp and Lamp House
Illumination is provided by a 200-watt 1 15-volt lamp
with concentrated coil-coil filaments. Due to the high heat
output of the lamp, the square lamp house has been care-
fully calculated as to size and design to remain safely cool
on its outer surface. This is qccomplished by means of on
inner shell which permits on air space on all four sides.
In addition, natural draft ventilation exhausts the heat
from the top of the lamp house. The lamp house cover
is baffled and may be turned so that both the heat and
stray light are directed away from the operator and audi-
ence.
A spherical aluminum-coated glass reflector is located
behind the lamp. The three-piece condenser lens unit,
ample in size to give uniform screen illumination, has in
addition a disc of heat-absorbing glass to prevent over-
heating of the slides.
The Kodaslide comes eauipped with a 4 7 /8 inch pro-
jection lens of high quality. Its focal length assures
■■
i ■ --- --^1 ■ ' ;■ ■ ■
The Kodaslide Projector shows large, clear screen
pictures from Kodachrome transparencies or
black-and-white film positives, mounted in 2 by
2 inch glass slides.
plenty of room in front of the projector for spectators.
The lens gives remarkable definition and has a flat field;
hence, the projected pictures show an even all-over sharp-
ness right to the corners. Furthermore, the lens is free
from distortion and chromatic aberration and is well cor-
rected for astigmatism.
The following table gives several examples of the size
of the projected picture for both Kodok Retina and Kodak
Bantam Special pictures, mounted in the 2 by 2 inch
slides and shown with the projector at different distances.
Distance
of Projector From
Screen
Kodak
Retina
Kadak
Bantam
Picture Size
Slides
Special
Slides
On Screen
10
feet
CO
feet
21 X 30 inches
13
//
1 1
U
28 X 40 "
16’/2
//
14'/2
u
36 x 52 "
19
H
17
II
41 X 60 "
23
//
20
II
50 X 72 "
Because owners of the new projector will want to show
both vertical and horizontal pictures, a square screen is
recommended. Two knurled thumb screws at the front of
the projector base provide a convenient means of ad-
justing the height of the light beam to the position of the
screen.
Change of focus is accomplished smoothly by rotating
the spirally grooved lens barrel. The lens may be re-
moved easily for cleaning.
Because of its sturdy construction, the Kodaslide is not
easily jarred out of focus — never by the operation of the
slide-shifting lever. The projector is 6 V 2 by 9V2 inches
at the base and stands IOV 2 inches high. Its weight is
5 pounds. An 8 -foot length of rubber-covered cord with
plug and convenient tumbler-type switch is provided.
The price of the projector is $48.50. A carrying case
is available at $ 8 . It will hold the projector, lens, and
two slide boxes holding about 50 slides each.
122 American Cinematographer • March, 1937
Cinematographers
T erse, descriptive words that roll off the tongue
ore so much easier and faster to use than precise
technical expressions. That, I presume, .s one reason
for the development of the studios' strange language.
Picture production has to keep moving once it gets under
way. There is no time for deliberate diction or academic
speechmaking.
So long as all hands understand the expressions it is
comparatively simple to say "Slip another skirt on that
broad," instead of lecturing; "Will an electrician kindly
place another screen made of silk in front of that broad-
side lighting unit so as to afford a degree more of diffus-
sion." It may sound a bit frivolous, possibly, but if we
failed to relax between shots we all soon would be in sani-
tariums suffering from nervous breakdown.
Here are more specimens of the cinematographer's shop
talk :
MAGAZINE. A removable compartment where exposed
and unexposed film is wound, attachable to camera.
MARK IT. Simultaneously to register on picture nega-
tive an action and on sound track the sound resulting
therefrom so that both films may be exactly synchronized
in the cutting room. In some studios this is accomplished
with a wooden clapper; in others by a device that auto-
matically fogs the two films.
MATCH BOX. A baby stop light.
MEDIUM SHOT. A scene made from reasonably close
range, a view of an actor from the knees up.
MINIATURE. A small replica of an item too expensive
or impractical to build in life size. Photographing it at
short distances makes it fill the screen and so seem normal
when viewed.
MIXER. The chief sound man on a set.
MOOD. The dramatic value or weight of a scene. It
governs the lighting key.
NET. A thin netting, as cheesecloth, hung before a
lamp to gain diffusion.
"Pan" Goes Two Ways
NIGGER. A gobo, a black.
OILS. Gelatine screen used to obtain diffusion; so
named from colored oiled paper used for the purpose in
the early days.
PAN. (1) Panchromatic. (2) To "panoram" with
camera.
PANCAKE. A low, squatty stool to stand on when
sighting a high camera set-up.
PARALLEL. A four-legged platform, built like a card
table.
PRINT. A printed copy of a negative made on positive
film.
PRINT IT. An acceptable photographed scene, an
OK'd take. Of several efforts, this is the one for the
laboratory to print for the picture.
PROJECTION BACKGROUND. A transparency back-
ground, a moving background to a set projected from the
rear from film specially made for the purpose.
PROCESS SHOT. A general term designating a scene
composed of any expedient other than normal sets and
actors.
PROPS. Properties, the thousand and one articles used
in dressing or furnishing a set.
POSITIVE. A print from a negative, the reverse image
from negative.
PULL IT DOWN. To limit the area covered by the
flood light, to concentrate or "spot" it more.
Have Language
All Their Own
by
Joseph August, A.S.C.
ARTICLE II
RAFTERS. The temporary scaffolding erected around
a set.
RELEASE PRINT. The print made from a completed
negative which is released to theatres for exhibition.
RETAKE. To do and shoot a scene over again.
RIBBON. Negative film.
ROLL 'EM. To start the motors driving camera and
sound recorder.
ROUGHING IN. The first lighting of a set preparatory
to lighting of actors.
RUSHES. Dailies, prints of yesterday's negative, pre-
sumably rushed through the laboratory for critical inspec-
tion.
"Save 'Em" for Economy
SAVE 'EM. Turn off the lights, kill 'em, when not
needed.
SCENE. One of the many unit episodes that combine
to make a picture; a sentence or paragraph of the entire
story.
SCRIM. Thin fabric placed before a lamp for diffusion.
SECOND. The operative Cameraman.
SECOND BROOM. The assistant prop man.
SENIOR. A large light unit containing a 5000-watt
lamp; larger than a Junior.
SET. The setting built on a stage or location wherein
action takes place.
SET-UP. (1) To place a camera in position for
shooting. (2) The place where a camera is set up for n
shot.
SHARP. In focus.
SHOT. A picture, a scene, a view that has been or
is to be photographed.
SILVER. A reflector covered with silver leaf, throwing
a white light.
SINK. Synchronize. Picture and sound must be "in
sink."
SKIRT. A screen of thin silk, possibly colored, placed
before a lamp to give diffusion.
SLATE. A small blackboard on which is chalked scene
number, etc., for guidance of laboratory and cutting room.
SOFT. A flat negative, the reverse of contrasty.
SOUND. Dialogue, music, noises, anything going on
the sound track.
SOUP. The developer used in processing negative in
laboratory.
SPEED. Camera operating at speed of twenty-four
frames of negative per second.
STEREOPTICON BACKGROUND. A still background to
a set projected from a picture behind the backwall of set.
Used to give appearance of far distance to exterior sets
built on stage.
Continued on page 127
March, 1937 • American Cinematographer 123
& Lomb Laboratory
for Applied Research
New Bausch
At a cost of approximately $40,000
and a 50 per cent increase in its staff
of graduate chemical engineers and
metallurgist, Bausch & Lomb has opened
a new laboratory for applied research.
Theodore B. Drescher, vice-president,
under whose direction the new labora-
tory has been placed, outlined the com-
pany's plans. He said:
"Believing the optical industry in
America will meet increasingly keen
competition from abroad, where low
labor costs exist, Bausch & Lomb will
engage in a broad program of funda-
mental investigations on the chemistry
and physics of glass surfaces and in the
development of new materials and proc-
esses for the industry."
Guided by Frank P. Kolb, chief chem-
ist, and Theodore J. Zak, assistant
chemist, company officials saw the con-
version of nearly 9,000 square feet of
space on the fifth floors of two buildings
facing the Genesee River into a series of
laboratory units devoted to research in
the fields of metallurgy, experimental
electro-plating, spectroscopy, photomi-
crography and physical testing. A well-
stocked library and a consulting room
add to the facilities of the research staff.
Physical Tests for Industry
Real advance has been made, accord-
ing to Mr. Drescher, in the perfection
of cements for optical purposes; in the
study of abrasives and polishing materi-
als for optical glass, and in the investi-
gation of the chemical and physical re-
actions on glass surfaces, induced by in-
dustrial gases, corrosive atmospheres and
other atmospheric conditions. Further
studies on these and many other sub-
jects ore planned.
One of the most interesting units is
that in which Dr. James E. Wilson and
his assistant, Vernon Patterson, are en-
gaged in applying metallurgical equip-
ment to the study of the structure of
the steels and alloys used in industry.
Physical tests are employed to check the
quality and adaptability of materials.
This laboratory is equipped with the
new Bausch & Lomb metallogrophic in-
strument for the study of the crystal
structure and surface characteristics of
metals. It also has one electric heat-
treating furnace with controlled atmos-
phere and a smaller one for treating
high-speed steel at ranges up to 2500
degrees F.
This equipment is supplemented by
Brinell and Rockwell hardness testers
and implements for cutting and polish-
ing metal specimens for microscopic ex-
amination. This de.oartment will act as
a control for the materials used in the
many departments of the plant and will
assist the sales department in supplying
information sought by customers.
Closely allied with this department is
the laboratory for spectrographic analy-
sis, a field in which the company is a
world leader. In addition to testing
spectrographic equipment built for lab-
oratories in the United States, the ap-
plication of spectroscopy to industrial
problems, particularly in the field of met-
allurgy and cameras, has been recognized
as an indispensable requirement. With
the facilities of the new laboratory, the
company will assist industry in the solu-
tion of problems in which spectroscopy is
important.
Cutting the Dust Counts
One of the most interesting and valu-
able developments of the chemical lab-
oratory has been in connection with a
new transparent resin for use in pro-
tective glasses. The refinement of this
commercial material for optical require-
ments has been an outstanding achieve-
ment. Sheets of this transparent sub-
stance have shown o light transmission
efficiency of 90 per cent.
The product has been found to have
qualities superior to any materials avail-
JUST BREAKING IN
Continued from page 89
O "But what a man he is," Paul went
on with real enthusiasm. "I found him
in Singapore, where he runs the Capitol
Theaters. He knows all the men who
go out to the Orient in search of film
adventure. He is a sidekick of Frank
Buck. He meets all the incoming ships,
just to keep track of his friends. If any
one tells you he has been in Singapore
and you are skeptical ask him to tell
you about Joe Fisher. Your unasked
question will be answered right off the
bat.
"Joe really is a world film figure. In
a 16mm reel of film he has the greatest
collection of stunt stuff ever put to-
gether. He has collected from every one
passing through Singapore who had any-
thing of real value."
The last time this writer saw Joe
Fisher was a dozen years ago in Los
Angeles. The first time was a quarter
century ago in New York at an exhibitors'
convention. At that time his theater
ventures were in South Africa. Paul is
right when he says Joe Fisher is a world
film figure.
able in the pasi as a laminating medium
for lenses. Investigations of this ma-
terial and other cementing substances
are conducted in a new air-filtered room
in which the dust count is under 300,000
units a cubic foot, while the ordinary
atmosphere has a count of from three
and a half to four million.
Test Analyses Continue
The testing and control laboratory,
under the direction of Ray A. Kirchmaier
and Joseph T. Anderson, is equipped
for general analytical work ond will
continue to analyze and test the hun-
dreds of materials purchased or made by
Bausch & Lomb which enter into its own
products and processes.
Dr. D. M. Webb has been added to
the staff for research in chemistry. One
of his immediate problems will concern
the electro-deposition of various metal-
lic substances as a backing for reflect-
ors.
The manufacturing laboratory, under
George G. King, is provided with facili-
ties for making pitches, waxes, resins,
polishing felts and a multitude of the
600 other materials required in the
B&L plant or for sale to outside in-
dustries.
Condemn Mutilating Devices
Continuing its campaign against muti-
lation of motion picture release prints,
the Projection Practice Committee of the
Society of Motion Picture Engineers at
its recent meeting passed a resolution
condemning certain devices for cueing
prints now on the market. The resolu-
tion reads:
"The Projection Practice Committee
of the Society of Motion Picture Engineers
does not approve of any structural modi-
fication, injury or mutilation of the
standard release print by the projection-
ist, and views with disfavor the sale of
devices capable of causing physical dam-
age to film for cue marks or the like.
The committee regards cue marking as
a function exclusively of the laboratory
Or exchange which is involved."
This latest action of the committee
was oassed after such a device was ex-
hibited before the committee. This de-
vice enables the projectionist to punch
a number of holes in the film to indi-
cate points of change-over and is of-
fered for sale to projectionists.
1.14 American Cinematographer • March, 1937
Cornelius Bol Comes to Rescue
of Stand-ins Worn Out by Heat
By permission of the editors of Time,
The Cinematographer is privileged to
reproduce for its readers a story of amaz-
ing results attained by Cornelius Bol,
working at Stanford University. All
who have to do with lighting will find
here figures that undoubtedly will inter-
est them. Especially may this be true
in the case of those who long have sought
light without undue heat. But read it
for yourself. It is from Time of Febru-
ary 8 :
Floodlights commonly used in Cinema
studios may heat up small sets, make
actors too uncomfortable to do their best
work. Beads of sweat on shapely noses
and fine foreheads will ruin takes. Last
week a bulky Dutch physicist named
Cornelis Bol, working at Stanford Uni-
versity, had film producers interested
in a tiny, super-powerful lamp which will
keep their stars cool while working.
Bol's lamp is a stout, strongly sealed
quartz tube less than a quarter-inch in
outside diameter, with an inside diameter
of .08 to .04. It contains neon to start
an electric arc, is so full of mercury
that when the arc vaporizes the mercury,
the pressure rises as high as 300 atmos-
pheres. At the core of the mercury the
temperature is 14,000° F., on the in-
side wall of the tube 1 ,800°.
The lamp is served by a water coaler
in which the water must be hurried alang
in its jacket to prevent the formation
of steam bubbles.
Enough Light For Filming
The heat given off is negligible, since
the light of mercury vapor slides off the
visible spectrum at the opposite side
from the red end where heat waves pre-
dominate. The lamp, however, sheds
enough red light for filming.
A five-inch lamp, no bigger than a
clinical thermometer, gives a maximum
of 80,000 candlepower. A lamp of this
length requires 8,000 volts ( 1 ,600 volts
for each inch) but the current is only
1 .5 amperes. Physicist Bol believes his
little tubes will be useful for lighting
airports, cinema projection, treatment of
skin diseases.
Has Leased Rights
He has leased manufacturing rights
to General Electric Co. and Philips Glow
Lamp Co. of Holland, declared last week
that two motion picture companies had
approached him with offers. Cost figures
were concealed last week but a Bol inti-
mate said they were "ridiculously low."
Cornelis Bol talks wittily in his im-
perfect English, likes sloppy, comfortable
clothes, has a plump wife and five chub-
by sons for whom he keeps a horse and
a pony-cart. Born in Hollond 52 years
ago, he came to the U.S. in 1907 to
study at Princeton, Stanford, the Univer-
sity of Montana, returned in 1916 to
his native land where he worked on the
development of sodium vapor lamps in
the Philips laboratories and devised a way
of sealing chrome steel to glass in X-
ray apparatus. Last autumn he again
bobbed up at Stanford as a research as-
sistant. "Eurape," he said, "iss no blace
to bring up fife children." Stanford is
financing his present work, expects some
share in the profits.
Transitions Are What You
Make Them
Continued from page 114
panion, the fade-in for setting a definite
"full stop" to a line of thought. There
is the lap-dissolve for the very smoothest
transition between clearly related scenes
and sequences. And there is the wide
range of wipes for use when we can af-
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“Thumbnail course on
o
Double-System 16mm.
sound-on-film recording
technique.
.
: t
READING TIME FOUR MINUTES
THE
BERHDT mnURER
lORP.
117 East 24th Street • lleui Vork City
II
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ford to have the transition call attention
to camera trickery.
The question is, what are we going to
say with all these filmic punctuation-
marks? The really clever directar is the
one who knows how to lead his scenes
up to natural transitions. For example,
suppose we want to bridge the gap be-
tween baby's bath and his dinner. Why
not end the bath sequence with a
straight-down shot of the swirl of water
running from the tub, and open the meal
sequence with a similar angle of milk
pouring into a cup? Then, from the table
to bed can be bridged by a close-up of a
napkin being falded, followed by a close-
up of the bedclothes being pulled down.
With or without the help of mechan-
ical tricks such as fades, dissolves or
wipes, these shots will blend the scenes
together evenly. They are in themselves
good transitions. And though they may
look simple and natural on the screen
they are evidence of fully as much cine-
matographic skill as the trickiest of
wipes.
And here's a surprising secret — if you
plan your scenes with these natural
transitional shots in mind you will have
less and less need ta worry about put-
ting in intricate mechanical transitions!
Wheels of Industry
Continued from page 120
It utilizes the well-known properties of
Viscose sponges. This material is absorb-
ent, durable, practically imperishable,
of a velvety softness when wet and rap-
idly drying. It is lintless and cohesive —
and will wipe off moisture from films
and plates — evenly, thoroughly and in-
stantaneously.
Second Rolleiflex Salon
• The second Rolleiflex Salon and Ex-
hibition will soon be on its way.
The first Salon was instituted approxi-
mately two years ago. A selected group
of the prints from that show has been
"on the road" ever since.
The prints submitted will be grouped
in four primary classifications: Pictorial,
portrait, technical and news pictures.
First prizes of $50 will be awarded to
the makers of the best print in each
group. Twenty-five dollars will be
awarded the prints selected as second
best. Provision is also being made for
the awarding of twenty-five honorable
mention certificates. An additional
prize of $100 will be given to the
maker of the best picture, to be chosen
from the first four prize winners, thus
making it possible for some lucky indi-
vidual to win a grand total of $150.
Communications regarding this con-
test should be addressed to Burleign
Brooks, Inc., 127 West Forty-second
Street, New York.
A JUNIOR
SOCIETY
APHERS has organ-
imateur to be known
aslhe SOCIETY OF AMATEUR CINEMATOGRAPHERS.
FOR MANY YEARS amateurs have been requesting the American
Society of Cinematographers to form an organization for them that would
be representative, authoritative and instructive.
IT WOULD BE EASY to form such an organization in the spirit of ac-
companying enthusiasm, but to insure the continuance of such an associa-
tion real ideals and a constructive policy are required.
THE APPLICANT must own a camera, he must have made motion pic-
tures, and he must submit a picture to the reviewing board which is made up
of members of the American Society of Cinematographers. This does not
mean that the 'amateur is going to be judged by 100*^0 professional stand-
ards, as practically every member on the reviewing board operates either an
8 mm or 16 mm camera and is familiar with the shortcomings of the amar-
teur’s equipment.
MEMBERSHIP will include a subscription to the American Cinema-
tographer. It also will include the use of the outstanding films made by
members of the Society of Amateur Cinematographers. As films are
submitted, the best will be duplicated and an analysis prepared by a mem-
ber of the American Society of Cinematographers. This analysis will go
with the picture and the picture will be available to any member of the
Society of Amateur Cinematographers.
WRITE FOR APPLICATION BLANK AND FULL PARTICULARS.
American Society of Cinematographers
1782 N. Orange Drive
Hollywood, California
126 American Cinematographer • March, 1037
Amateur Movie Club News
Continued from page 116
the actual start of Amelia Earhart's
famous solo flight across the Atlantic,
which no newsreel secured, and the first
sailing of the United States Liner Man-
hattan, which was filmed from the pier-
head in New York, in a downpour of
rain at midnight.
These parties have been copied in
other parts of the country, and are fast
becoming one of the notable outgrowtns
of the amateur motion picture hobbv.
Los Angeles 8mm Club Will
Mention Society in Titles
A leader strip announcing that the
film's maker is a member of such and
such an amateur cine club is something
all club members very properly like tc
include in their productions. From the
club's viewpoint, however, it is not al-
ways easy to provide such leader strips.
Where some members shoot 1 6mm and
others 8mm, some black-and-white and
others color, there is a good deal of
physical complication.
There is also the unpleasant matter
of cost, for few if any club treasuries
could stand the drain of providing com-
plete leader film for the members gratis
— and, believe it or not, no club treas-
urer enjoys making members pay for such
adjuncts of membership.
The Los Angeles 8mm Club has solved
this problem very neatly. At the club's
February meeting, held at the Bell &
Howell Building in Hollywood, Secretary
M. R. Armstrong distributed title-cords
which enabled the members to moke
rheir own club leader strips. As shown
in the accompanying illustration, these
cords carry the club emblem and the
words, "Member Los Angeles 8mm
Club."
The cords ore mode in two sizes, to fit
the overage home titler, and in two
types; one on white paper, with the
word "member" in red and the rest of
the lettering in block, for use in block-
Title Cord of 8mm Club
ond-white films; the other, with the
some printing but on pole blue paper,
for use in Kodochrome pictures. Thus
with two cords, the club member con
produce o variety of effects in either
black-and-white or color.
Using the white cord, he con by using
o blue filter darken the red-printed
word, "member," and thus moke it more
prominent.
Using on orange or red filter he con
Make Your Own Titles
Economically
Effectively
Easily
wilh STAMF-O-TITLE
Complete Titling Outfit
A novel, unique and durably construct-
ed kit that will solve your titling
problems ingeniously and permanently
— and that requires no especial train-
ing in its use beyond the ability to
wield a rubber stamp . . . STAMP-0-
TfTLE may be used with either 16mm.
or 8mm. film in black and-white or
Kodachrome. The convenience of this
method is based on the efficacy of an
especially patented solution which out-
lines the lettering and forms an ab-
sorptive base for the Cold or Silver
Powder . . . STAM P-O-TITLE is pro-
vided with 3 titling surfaces of dur-
able composition, black for black-and-
white, red for Kodachrome and trans-
parent for use with any backgrounds.
The application of an eradicator fluid
furnished with set removes lettering
from Titling Surface immediately —
leaving it blank and clean for fufure
use.
STAMP-O-TITLE consisfs of 1 boftle
Patented Fluid, 1 Bottle Eradicator, 1
Vial each Cold and Silver Powder, Font
Cine Rubber type, Type-Holder, with
handle. Tweezers, Inking Pad, 3 Com-
position backgrounds. All for only
85.75
If your dealer cannot supply you, send
check or money order to:
The 8TAM P-O-TITLE €'0.
Dep’t. A-3
318 East 116th Street • — New York
CRAIG
SPLICER and REWINDS
CRAIC JUNIOR COMBINATION $8.50
junior Splicer with two geared rewinds
all mounted on 21" board.
CRAIC MOVIE SUPPLY CO.
1053 So. Olive St. Los Angeles, Cal.
lighten it. Photographing the some cord
in Kodachrome he con get o wide range
of effects with projected colored light.
Using the blue cord and filters for
black-and-white he con get o soft,
neutral gray title, or progressively darken
the background os he wishes.
Celebration in Philadelphia
• The Philadelphia Cinema Club held
its anniversary banquet February 1 8 in
the Rose Room-McCollister, 1811 Spring
Garden street. A. L. O. Rosch, secre-
tory-treasurer, reports the occasion was
successful, one of the factors contribut-
ing to that result being the door prizes
given by the following dealers:
Eastman Kodak Stores, two 8x10 sil-
ver finish picture frames; Klein & Good-
man, 1 00 ft. Eastman Panchromatic
film and 50-ft. magazine Kodachrome
film; H. & R. Camera Exchange, Craig
Jr. splicer for 8mm or 16mm; M. & H.
Sporting Goods Co., Testrite pan head
and double reflector on tripod and lights.
P. Rosenfeld, Craig Jr. splicer for
8mm or 16mm; Seaboard Camera Stores
Inc., Keystone titler 16mm or Kodak
8mm rewind and splicer; Street, Linder
& Propert, 1 00-ft. Type "A" Koda-
chrome film; Wanger's Camera Shop,
1 00-ft. Agfa Finopan film; Williams,
Brown & Earle, Inc., Two Da-Lite Uni-
pod canes.
Portland Cine Club Meets
• The February meeting of the Port-
land Cine Club was held on the 26th in
the lounge room of the Portland Cham-
ber of Commerce. Shown to the mem-
bers were sound pictures on 16mm and
also 8mm and 16mm films taken
by members. Announcement had been
made it was to be the night of the big
drawing. That was for the prizes that
had been given by Beattie & Hoffman
Inc., Eastman Kodak Stores, Joe Freck,
J. K. Gill Company, Walter Leve, Meier
Frank Compony, Lloyd F. Ryan of
Bell and Howell, Sandy's Camera Shop,
Sherman, Clay & Co., C. A. Wagner
Company, James Walsh and Weisfield
and Goldberg.
Bay Cinema Club Meets
A questionaire conducted by the Cin-
ema Club of San Francisco showed the
members are interested in taking indoor
pictures. At the meeting held February
23 Member Gordon Michie and O. J.
Smith of the Eastman Kodak Company
gave a talk on the subject of indoor pic-
tures. Also they gave a demonstration
of proper lighting for such photography.
H. T. Kelly, a guest, screened an 8mm
film for constructive criticism.
March, 1937 • American Cinematographer 127
Studio Cinematographers Have
Language All Their Own
Continued from page 122
STILL. Motionless, a picture mode
by a portrait camera.
STOCK. Negative film.
STOCK SHOTS. Scenes already on
hand, newsreel clips, travelogues, etc.,
that can be utilized in a picture.
SUN ARC. A large 1 50-ampere arc
lighting unit.
“Test" Tells the Story
TAKE. A photographed scene.
TAPE. Measuring tape to determine
focus by measuring distance between
lens and object.
TEST. To discover by actual experi-
ment the effect of light, make-up,
wardrobe and such on film. To deter-
mine photographic qualities of a new
actor or of an old one in a new char-
acter. To see what sets or locations
really look like on the screen.
TEST BOX. A small portable devel-
oping set frequently used on distant
locations.
THIN. Unde.'exposed.
TILT. To move camera up or down.
TINS. Reflectors covered with pol-
ished tin, throwing a hard, hot light.
TOSS 'EM IN. Turn on the lights;
hit 'em.
TRANSPARENCY. A background to
a set projected from the rear on a trans-
parent screen.
TRICK SHOT. Any process photo-
graphic result not as the camera normal-
ly sees it.
TURN 'EM. Roll 'em, start the
motors driving camera and sound re-
corder.
TWO SHOT. A medium shot.
WAIST FIGURE. A view of an actor
from the waist up.
WANGLER. A boom man, he manip-
ulates or wangles the boom from which
the microphone is suspended.
WHITE LIGHT. Light from an arc
lamp.
WILD CAMERA. A camera not syn-
chronized to a recorder, a camera not
used with sound, a camera with speeds
other than the normal twenty-four
frames per second.
WIRY. Too much contrast.
WRAP IT UP. Let's go home, the
day's work is done.
ZOOM SHOT. With the camera
stationary, a lens device moves forward
or backward giving the image Qn ap-
pearance of leaving or nearing the spec-
tator, with proportionate variation in
size.
OERZ
PRECISION
In every step of lens manufacture,
Coerz Precision is evident. In the
careful selection of the raw material,
in the meticulous grinding and polish-
ing, in the critical supervision of each
detail, in the final, rigorous testing —
this precision holds — and affords to
users of Goerz Lenses an unequivocal
and unconditional guarantee of their
quality and performance.
Kino-Hypar f /2.7 and f /3 ;
Focal Lengths 15 to 100mm.
Cinegor High Speed Lenses —
Ideal for Color Work. f /2
and f/2.5; Focal Lengths 40
to 100mm.
Telestar — A lens of the tele-
photo type, f/4.5. Focal
Lengths 6 1/4 to 15 1/2
inches.
Catalog B 3 on Request
C. P. GOERZ
AMERICAN OPTICAL CO.
317 East 34 Street
New York
GLARELESS
PHOTOGRAPHY
IS NOW AN ACCOMPLISHED FACT
MARKS POLARIZATION FILTERS
Elimination of glare and reflection in
movie photography, enhanced defini-
tion, freedom from halation and sky
effects otherwise unobtainable, are
readily achieved with these new, pre-
cise and scientifically constructed Pol-
arization Filters.
Booklet 53 on reqquest
RIX-O-LUX, Inc*.
105 West 40th Street New York
Super X 35mm Film
2 V 4 Cents a foot
postage paid anywhere in the
United States
MORGAN CAMERA SHOP
6305 Sunset Blvd. — Hollywood, Calif.
HUGO
'M’P.w.'a
Titles & Editing
Developing & Printing
8 and 16mm. Short Subjects
All Grades of Camera Films
GENERAL CINE SERVICE
204A East 18th Street New York
The King of Allah’s Garden
Continued from page 1 1 1
became an idea, so that we wrote it into
the story as “on abandoned jungle out-
post."
To get the most interesting angles we
became contortionists, trying to dodge
an "American wire fence" and a recent-
ly surfaced macadam road which crossed
our line of view within twenty feet of
the walls!
The "fort" structure is actually a
marvelous granite gateway to a beauti-
ful estate. The front which we used is
comprised of two twenty-foot turrets on
either side of an immense iron door. A
sentry-box, grilled open-windowed "cell"
and a twelve-foot wall partly hidden by
thick growth of tall trees extend from
both sides of the entrance. Each figured
in our scenes.
The property used as our location is
entirely English in style. Depression
years have wrought great changes to its
appearance, with vines and brush climb-
ing over the high walls and hiding the
paths. This run-down condition, of
course, aided in giving us the touch of
realism our story needed.
Our exterior photography was com-
pleted in eight months' spare time,
while another month was devoted to in-
teriors, titling, cutting and editing.
Originally it ran into 2,000 feet, but
after elimination of the "not so good"
it now stands at 1200.
"The King of Allah's Garden" has re-
ceived considerable press comment in
our state whenever presented. We offer
it with planned programs of other sub-
jects.
The work still stands as our pride, as
a first experiment, from which we have
gleaned many valuable aids ta present
and future work. Our group of movie
makers can enumerate many flaws, in
photography, acting, and editing, but
further remodeling is out. As the 1 6mm
equipment and its followers advance
through the years we believe it will be
a pleasant "memory" to revive.
Enlarged J^^^Reduced
Geo. W. Colburn Laboratory
Special Motion Picture Printing
1197 MERCHANDISE MART
CHICAGO
OALY
for one year’s subscription to American
Cinematographer, any where in the
United States.
$3.50 foreign
AMERICAN CINEMATOGRAPHER
1782 No. Orange Drive
Hollywood, California
I
1 28 American Cinematographer • March, 1037
River Roll Along
Continued from page 93
CLASSIFIED ADVERTISING
point of the Ohio and Mississippi Riv-
ers. Cairo, where was being waged a
valiant fight by man against the ele-
ments and the two mightly rivers! Cam-
eramen grinding away, with threats of
compulsory work filling sandbags, to
help stem the overlapping waters. Man
fighting his master . . . Ole Man River!
And newsreelers fighting all odds . . .
to get the story ... the great flood of
'37.
The waters are now going down . . .
Ole Man River has again proved himself
master! So have the newsreelers in giv-
ing a graphic account ... in informing
on outside world of the havoc ... of
the heartaches ... of the pitiful plight
of the victims of Ole Man River.
The crest is spent . . . the big flood
of all time . . . the big flood of '37 has
now entered the pages of history and
the most graphic pages are recorded on
celluloid . . . on the celluloid of the
newsreelers. Once again the newsreel-
ers have mastered another heretofore
impossible enemy! This time Ole Man
River!
Cameras Should Be Instruments
of Illusion
Continued from page 1 1 9
Every woman knows she appears to
better advantage under a certain kind
of light. Photograph your women sub-
jects under light conditions approximat-
ing their own choice. If the children
are temporarily in one of the many
stages of growth that interferes with
their physical appearance, blot cut the
blemishes with proper light application.
It's entirely legitimate. Even your
portrait photographer places lights to
advantage — and then retouches his neg-
ative. Films are the igreat glorifier,
rightfully. A film that fails in this re-
gard falls short of its true purpose.
16 mm Theatre
According to reports, the J. H. Cooper
Enterprises, Inc., which have theatres in
four Colorado cities, are offering I 6mm
pictures in their houses in conjunction
with their regular shows.
For this purpose they have installed
regular 1 6mm projectors. The 16mm
pictures are usually of local sports
events, festivals, fairs, etc.
C I N E A N D
MINIATURE
CAMERA
SPECIALISTS
MORGAN
CAMERA
SHOP
SUNSET AT VINE
HOLLYWOOD
Rates: Seven cents a word. Minimum
charge, one dollar per insertion.
FOR SALE— MISCELLANEOUS
WALL SINGLE SYSTEM SOUND CAMERA with
direct drive motor, new type movement,
variable area high fidelity galvanometer,
microphone, amplifier, lenses, tripod and
accessories. Complete, ready for operation.
Rebuilt silenced and standard Bell & Howell
170 degree Cameras — Hi-speed gear boxes.
Bell & Howell Hi-speed shuttles. Two
late model Bell & Howell splicers; Bell &
Howell sound printer: pair used Simplex
portab’e sound projectors with 2000 ft.
magazines. Precision, DeBrie and Bell 6-
Howell pan and tilt tripods. Bell Cr Howell
1000 ft., 400 ft. magazines. Motors, sun-
shades, finders, lenses and all accessories.
Write, wire or cable. MOTION PICTURE
CAMERA SUPPLY, INC., 723 SEVENTH
AVE., NEW YORK, N. Y. CINECAMERA.
35MM. NEGATIVE fresh Eastman and Dupont
stock — panchromatic — super-sensitive
— superior — grayback, $2.50 per hundred
feet. 100 ft., daylight loading rolls, $2.75
each. 10% discount on all orders accom-
panied by this coupon. F.O.B. Hollywood.
PACIFIC COAST RAW FILM CO.. 1558
No. Vine St., Hollywood, Calif.
BELL Cr HOWELL 5-WAY SOUND PRINTER,
Generators, Panel Control Boards. Duplex
Printers, Sound Moviolas, Developing Ma-
chines. Blimps. Dolly, B & H Splicers, Mit-
chell and B Cr H Silent Cameras, Motors,
High Speed Gear Boxes, Light Testers,
Projection and Lighting Equipment. Guar-
anteed optically and mechanically perfect.
Send for 1937 Bargain Catalogue. Holly-
wood Camera Exchange, 1600 Cahuenga
Blvd., Hollywood, California. Cable Ho-
camex.
WE BUY, SELL AND RENT PROFESSIONAL
AND 16mm EQUIPMENT NEW AND USED.
WE ARE DISTRIBUTORS FOR ALL LEAD-
ING MANUFACTURERS. RUBY CAM-
ERA EXCHANGE. 729 Seventh Ave., N,
Y. C. Established since 1910.
WE HAVE WHAT YOU WANT. Brand new
Bargaingrams describe Cameras, Tripods,
Recording Systems, Projectors. Printers,
Moviolas, Motors, Magazines, Animators,
Galvanometers, new and used. We’ll trade
S.O.S., 1600-F Broadway, New York.
NEW FULLY EQUIPPED FEARLESS 65MM
wide film camera. Ideal for color and ex-
perimental work. Extra 35mm high speed
movement. Price complete $2,000.00. Fear-
less Camera Co., Hollywood, Calif.
A CAMERAMAN'S CAMERA IS THIS BELL &
Howell Camera. — Has built-in Buckle Trip
and Bloop light. With full or Academy
Aperture. Interchangeable. 35, 40, 50 and
75mm Cooke-Panchro Lenses corrected for
Color work; 4 400-ft. or 2 1000-ft. Maga-
zines; Mitchell standard tripod: B & H
Cine Motor, rewound: Veeder Counter;
Head and Magazine and Accessory Cases;
set Gauze Matts; set of Filters, 2 and 3
inch. Guaranteed in first-class condition
for process or trick work. Price $1500
CAMERA SUPPLY CO.. 1515 No. Cahuenga
Blvd., Hollywood, Calif.
SILENT BELL & HOWELL CAMERA WITH
silent Unit I shuttle — guaranteed perfect —
no blimp required — with four fast lenses.
2 — 1000 foot rubber covered magazines,
front attachments, tripod and accessories.
Fuliv equipped readv to shoot — $1400.00.
RUBY CAMERA EXCHANGE, 729 Seventh
Ave., New York.
BELL-HOWELL CAMERA SILENCED, adapt-
ed for color, variable area, single systeni
sound. Complete outfit, like new, ready
to shoot. $2750.00. Hollywood Camera
Exchange. 1600 Cahuenga Blvd., Holly-
wood, California. Cable Hocamex.
SILENT BELL & HOWELL CAMERA equipped
with Fearless Quick Focus Shift and silent
Fearless high speed movement; 4 fast len-
ses; 4-1000 ft. magazines, matte box, 2
motors, friction head tripod, etc. This
silent camera does not require blimp. Ideal
for color. Price fully equipped $1,500.00.
Fearless Camera Co., Hollywood, Calif.
16MM FILMS. ALL SUBJECTS, BARGAINS,
Exchanges made. Trades accepted. We buy
anything. Free illustrated catalog, (with
sample Art Film. 10c) Carden Camera, 800
8th Avenue, New York.
ART MOVIES, 16MM AND 8MM. FREE LIST.
Stone, (Dept. F) Room 312E, 30 Church
St., New York City.
HERE ARE SOME OF OUR SPECIAL VALUES.
RCA Galvanometers, $75.00; Western
Electric Recording Amplifiers, from $43.50;
W. E. Condenser Microphones, $95.00;
Fox Movie-tone Recording Cameras, $975.-
00; RCA Photophone Variable Area Studio
Records, brand new, $1495.00; Background
projection screens. $144.00. Loads of
ofhers; lisfs free. S.O.S., 1600-F Broadway,
New York.
SOUND TRUCK WITH FULL EQUIPMENT,
including variable density light valve re-
corder with noise reduction; 2 position ex-
tended mixer; Power batteries 32 volt
D.C. to 220 volt; 3 phase generator with
automatic speed control; gas engine bat-
tery charger; microphones; inter communi-
cation telephone system; magazines and
complete accessory equipment ready to
record. An outstanding buy at $4,000.00.
Fearless Camera Co ., Hollywood, Calif.
waI^ted
tell us what YOU HAVE. Get our offers.
We’ll buy Used Cameras, Lenses, Recorders,
Printers, Splicers, Tripods, Cinemotors,
Magazines, Microphones, Amplifiers, Pro-
jectors, Laboratory and Studio Equipment.
Trades taken — Bargains galore. S.O.S.,
1600-F Broadway, New York.
WANTED. We pay cash for everything pho-
tographic. Send full information and low-
est cash prices. Hollywood Camera Ex-
change, 1600 Cahuenga Blvd., Hollywood,
Calif.
WE PAY CASH FOR YOUR USED CAMERA,
LABORATORY AND STUDIO EQUIPMENT.
Write, wire or cable MOTION PICTURE
CAMERA SUPPLY, INC., 723 Seventh Ave-
nue, New York City. Cable Address: Cine-
camera.
MAGNETIC TITLING LETTERS. MUST BE
CHEAP AND PERFECT. DOUGALL, 947 So.
Cramercy Drive, Los Angeles, Calif.
Back Issues of American Cinematographer on Hand
1 937 — February.
1933 — Jan,, Feb., March, April,
1936 — All months, except Jan
u- May, June, October, Nov-
ary and February.
ember, December.
1 935 — None.
1932 — All months except
1934 — January, March, April,
October.
July, August September, 1931 — All months.
All Back Issues Are
Priced at 30c in Single Copies
American
Cinematographer
1782 No. Orange Drive
Hollywood, California
1. ADJUSTABLE HEIGHT
The screen you select should be adapt-
able to the varied projection require-
ments which you will have in showing
mo\des. The Da-Lite Challenger is the
most versatile of all portable screens.
It can be set up anywhere. It ALONE
offers a choice of three positions"' to
which the fully opened screen can be
raised. A catch spring locks the screen
automatically at the desired height. No
thumb screws! In the four larger sizes,
the screen is lifted by means of a crank.
*For Larger Audiences
This height permits pro-
jecting movies above the
heads of the audience
and seating more peo-
ple in direct line with
the screen.
To set up the Da-Lite Challenger, simply
open the legs of the tripod, hook the
screen over the goose-neck and raise to
height desired.
REC. U. S. PAT. OFF.
Quality Screens
for More Than
■ i Quarter Century
2. SQUARE CENTER ROD
To insure perfect focus of the entire pic-
ture, the center rod of the tripod of the
Challenger Screen is square instead of
round. It has a slot or groove in which the
handle mounting slides up and down when
the screen is being adjusted in height. This
square, slotted construction prevents the
case from turning on the center rod and
throwing the lower part of the screen out
of focus. Note (at left) the wide sup-
porting band on the case and the sturdy
handle mounting on the center rod.
3. NON-SAG TOP SLAT
A rigid metal slat across the top edge of the
screen fabric of the Challenger does for the
upper part of the screen what the case
does for the lower part . . . keeps the upper
corners and sides straight, permitting per-
fect focusing of the entire picture.
4. GLASS-BEADED SURFACE
For the average operating conditions, in
home, school, club or church where most
of the audience can be seated within a twen-
ty-five degree viewing angle of the screen,
the Da-Lite glass-beaded surface is the
most efficient. It reflects the maximum
amount of light and gives the brightest,
clearest and most sharply defined pictures.
Da-Lite manufactures screens with other
surfaces, but unless another type is speci-
fied, furnishes the Challenger and other
portable models with the beaded surface.
!=For Small Croups
*For Croups of 5 to 8 Persons
5. IMPROVED HANDLE MOUNTING
The leather handle of the Challenger, instead
of being fastened directly to the side of the
metal carrying case, is attached to a si>ecial
angle-iron mounting, encompassing the center
rod of the tripod. A wide band of heavy gauge
steel around the case is pivotally attached to
this angle-iron. Thus, there is no strain on
the case. You get this practical construction
only in the Da-Lite Challenger.
.See this finer screen at your dealer's today'.
The Challenger is only one of the many out-
standing values in the Da-Lite Hue. rite for
literature now!
DA-LITE SCREEN CO.. Inc.
2723 No. Crawford Ave., Chicago, III.
The Da-Lite Challenger Screen
Can Give Yon All of These
ADVANCED FEATURES!
Da-Lite Screens
An Essential Part of Every Production
A CAME'RA to interpret the ereative art
of Directors of Photography
Mitchell Cameras
fill that requirement
Mitchell Camera Corporation
665 N. ROBERTSON BOULEVARD
WEST HOLLYWOOD, CALIF.
Cable Address “MITCAMCO” Phone OXford 105 i
AGENCIES
BELL & HOWELL CO., LTD,, London, England MOTION PICTURE CAMERA SUPPLY, INC., New York City
CLAUD C. CARTER, Sydney, Australia BOMBAY RADIO CO., LTD., Bombay, India
D. NAGASE & CO., LTD., Osaka, Japan H. NASSIBIAN, Cairo, Egypt
